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ディアナとニンフたち

According to Arthur K. Wheelock Jr., the painting "has no visual precedent". As a depiction of Diana, the painting is notable in part for what it does not depict—neither Actaeon catching sight of Diana and her nymphs bathing nor the actual moment when Callisto's pregnancy is revealed, both popular themes in mannerist painting in the early 17th century. Nor does the artist show Diana's hot temper or her harsh reactions to those episodes. The goddess's ability as a huntress is not signalled by dead game or bows and arrows. Even the dog is depicted as a gentle animal, not like the fast hounds normally seen in paintings of Diana.Nor does the painting use Diana as an allegorical portrait, a tradition for which had developed by the mid-17th century, with identifiable women depicted as the goddess, who was also a symbol of chastity. An example of this tradition is Diana and Her Nymphs, painted by Jacob van Loo in Amsterdam around 1648, about seven or eight years before Vermeer's work. (Vermeer's Diana has frequently been compared to van Loo's. In van Loo's painting, Diana also sits in a forest clearing with a small group of companions, but the mood is very different.Vermeer is known to have incorporated other artists' ideas, techniques and the poses in which they depict subjects. Some features of Diana share the effects and techniques of Rembrandt. Diana's stout figure is much like those in Rembrandt's work, and Vermeer used thick impasto brushwork following the lines of the folds of her clothing, as Rembrandt did. Also like Rembrandt, Vermeer cast the faces of the group in shadows, which gives a more expressive, moodier cast to the scene. Vermeer's painting is very similar in feeling to Rembrandt's Bathsheba, painted in 1654, a work Vermeer very likely saw firsthand, according to Wheelock. The poses of the woman whose feet is washed and the one doing the washing are similar. It is possible that Rembrandt's former pupil, Carel Fabritius , may have made Vermeer familiar with Rembrandt's work.Doubts about the attribution of the painting remained until about 1901, the year Abraham Bredius and Willem Martin, deputy director of the Mauritshuis, discovered its similarities in coloring and technique with Martha and Mary, which was signed by Vermeer, and in colors with The Procuress, another very early Vermeer work.

Prompt: ディアナとニンフたちはどのように帰属、他の作品との関係を説明していますか？英語で出力して下さい。

Abraham Bredius
Actaeon
Arthur K. Wheelock Jr.
Carel Fabritius
Jacob van Loo
Mauritshuis
Rembrandt


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ディアナとニンフたち

According to Arthur K. Wheelock Jr., the painting "has no visual precedent". As a depiction of Diana, the painting is notable in part for what it does not depict—neither Actaeon catching sight of Diana and her nymphs bathing nor the actual moment when Callisto's pregnancy is revealed, both popular themes in mannerist painting in the early 17th century. Nor does the artist show Diana's hot temper or her harsh reactions to those episodes. The goddess's ability as a huntress is not signalled by dead game or bows and arrows. Even the dog is depicted as a gentle animal, not like the fast hounds normally seen in paintings of Diana.Nor does the painting use Diana as an allegorical portrait, a tradition for which had developed by the mid-17th century, with identifiable women depicted as the goddess, who was also a symbol of chastity. An example of this tradition is Diana and Her Nymphs, painted by Jacob van Loo in Amsterdam around 1648, about seven or eight years before Vermeer's work. (Vermeer's Diana has frequently been compared to van Loo's. In van Loo's painting, Diana also sits in a forest clearing with a small group of companions, but the mood is very different.Vermeer is known to have incorporated other artists' ideas, techniques and the poses in which they depict subjects. Some features of Diana share the effects and techniques of Rembrandt. Diana's stout figure is much like those in Rembrandt's work, and Vermeer used thick impasto brushwork following the lines of the folds of her clothing, as Rembrandt did. Also like Rembrandt, Vermeer cast the faces of the group in shadows, which gives a more expressive, moodier cast to the scene. Vermeer's painting is very similar in feeling to Rembrandt's Bathsheba, painted in 1654, a work Vermeer very likely saw firsthand, according to Wheelock. The poses of the woman whose feet is washed and the one doing the washing are similar. It is possible that Rembrandt's former pupil, Carel Fabritius , may have made Vermeer familiar with Rembrandt's work.Doubts about the attribution of the painting remained until about 1901, the year Abraham Bredius and Willem Martin, deputy director of the Mauritshuis, discovered its similarities in coloring and technique with Martha and Mary, which was signed by Vermeer, and in colors with The Procuress, another very early Vermeer work.

Prompt: ディアナとニンフたちに関して、どのように帰属、他の作品との関係が議論されていますか？英語で出力して下さい。

Abraham Bredius
Actaeon
Arthur K. Wheelock Jr.
Carel Fabritius
Jacob van Loo
Mauritshuis
Rembrandt


section

ディアナとニンフたち

The painting has an "overwhelming sense of solemnity more associated with Christian than with mythological traditions", according to Wheelock. The work may combine the Christian symbolism of foot-washing as purification with the allusions to chastity and purity invoked by Diana's modest dress and the white cloth and brass basin at her feet. The companion holding her own foot strongly resembles the ancient Spinario statue, a figure in a nearly identical pose, who is removing a thorn from the bottom of his foot. The thorn is a Christian symbol of the grief and trials of Jesus or of the suffering in this world.Foot washing is also a Christian symbol of humility and the nearness of death, and "the dignity with which Diana's companion performs her service recalls mary Magdalene washing Christ's feet with her tears", according to Wheelock . Selena Cant believes Vermeer's contemporaries would have immediately drawn the association of foot-washing with the idea of Jesus washing feet. "[T]his maidservant steals the scene", according to Cant, who points out the "unusual brown-bronze bodice" worn by the servant.According to Wheelock, the painting "has [...] no obvious literary source". As a depiction of Diana, the painting is notable in part for what it does not depict—neither Actaeon catching sight of Diana and her nymphs bathing nor the actual moment when Callisto's pregnancy is revealed, both popular themes in mannerist painting in the early 17th century. Nor does the artist show Diana's hot temper or her harsh reactions to those episodes. The goddess's ability as a huntress is not signalled by dead game or bows and arrows. Even the dog is depicted as a gentle animal, not like the fast hounds normally seen in paintings of Diana. mentions that just before discovering Callisto's pregnancy, Diana washed her feet and then she and her attendants disrobed. although Wheelock states that the episode seems unrelated to the mood of the painting.

Prompt: ディアナとニンフたちに焦点を当てて、その批判的解説を説明してください。英語で出力して下さい。


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ディアナとニンフたち

The painting has an "overwhelming sense of solemnity more associated with Christian than with mythological traditions", according to Wheelock. The work may combine the Christian symbolism of foot-washing as purification with the allusions to chastity and purity invoked by Diana's modest dress and the white cloth and brass basin at her feet. The companion holding her own foot strongly resembles the ancient Spinario statue, a figure in a nearly identical pose, who is removing a thorn from the bottom of his foot. The thorn is a Christian symbol of the grief and trials of Jesus or of the suffering in this world.Foot washing is also a Christian symbol of humility and the nearness of death, and "the dignity with which Diana's companion performs her service recalls mary Magdalene washing Christ's feet with her tears", according to Wheelock . Selena Cant believes Vermeer's contemporaries would have immediately drawn the association of foot-washing with the idea of Jesus washing feet. "[T]his maidservant steals the scene", according to Cant, who points out the "unusual brown-bronze bodice" worn by the servant.According to Wheelock, the painting "has [...] no obvious literary source". As a depiction of Diana, the painting is notable in part for what it does not depict—neither Actaeon catching sight of Diana and her nymphs bathing nor the actual moment when Callisto's pregnancy is revealed, both popular themes in mannerist painting in the early 17th century. Nor does the artist show Diana's hot temper or her harsh reactions to those episodes. The goddess's ability as a huntress is not signalled by dead game or bows and arrows. Even the dog is depicted as a gentle animal, not like the fast hounds normally seen in paintings of Diana. mentions that just before discovering Callisto's pregnancy, Diana washed her feet and then she and her attendants disrobed. although Wheelock states that the episode seems unrelated to the mood of the painting.

Prompt: ディアナとニンフたちの批判的解説を説明してください。英語で出力して下さい。


section

ディアナとニンフたち

The painting has an "overwhelming sense of solemnity more associated with Christian than with mythological traditions", according to Wheelock. The work may combine the Christian symbolism of foot-washing as purification with the allusions to chastity and purity invoked by Diana's modest dress and the white cloth and brass basin at her feet. The companion holding her own foot strongly resembles the ancient Spinario statue, a figure in a nearly identical pose, who is removing a thorn from the bottom of his foot. The thorn is a Christian symbol of the grief and trials of Jesus or of the suffering in this world.Foot washing is also a Christian symbol of humility and the nearness of death, and "the dignity with which Diana's companion performs her service recalls mary Magdalene washing Christ's feet with her tears", according to Wheelock . Selena Cant believes Vermeer's contemporaries would have immediately drawn the association of foot-washing with the idea of Jesus washing feet. "[T]his maidservant steals the scene", according to Cant, who points out the "unusual brown-bronze bodice" worn by the servant.According to Wheelock, the painting "has [...] no obvious literary source". As a depiction of Diana, the painting is notable in part for what it does not depict—neither Actaeon catching sight of Diana and her nymphs bathing nor the actual moment when Callisto's pregnancy is revealed, both popular themes in mannerist painting in the early 17th century. Nor does the artist show Diana's hot temper or her harsh reactions to those episodes. The goddess's ability as a huntress is not signalled by dead game or bows and arrows. Even the dog is depicted as a gentle animal, not like the fast hounds normally seen in paintings of Diana. mentions that just before discovering Callisto's pregnancy, Diana washed her feet and then she and her attendants disrobed. although Wheelock states that the episode seems unrelated to the mood of the painting.

Prompt: ディアナとニンフたちはどのように批判的解説を説明していますか？英語で出力して下さい。


section

ディアナとニンフたち

The painting has an "overwhelming sense of solemnity more associated with Christian than with mythological traditions", according to Wheelock. The work may combine the Christian symbolism of foot-washing as purification with the allusions to chastity and purity invoked by Diana's modest dress and the white cloth and brass basin at her feet. The companion holding her own foot strongly resembles the ancient Spinario statue, a figure in a nearly identical pose, who is removing a thorn from the bottom of his foot. The thorn is a Christian symbol of the grief and trials of Jesus or of the suffering in this world.Foot washing is also a Christian symbol of humility and the nearness of death, and "the dignity with which Diana's companion performs her service recalls mary Magdalene washing Christ's feet with her tears", according to Wheelock . Selena Cant believes Vermeer's contemporaries would have immediately drawn the association of foot-washing with the idea of Jesus washing feet. "[T]his maidservant steals the scene", according to Cant, who points out the "unusual brown-bronze bodice" worn by the servant.According to Wheelock, the painting "has [...] no obvious literary source". As a depiction of Diana, the painting is notable in part for what it does not depict—neither Actaeon catching sight of Diana and her nymphs bathing nor the actual moment when Callisto's pregnancy is revealed, both popular themes in mannerist painting in the early 17th century. Nor does the artist show Diana's hot temper or her harsh reactions to those episodes. The goddess's ability as a huntress is not signalled by dead game or bows and arrows. Even the dog is depicted as a gentle animal, not like the fast hounds normally seen in paintings of Diana. mentions that just before discovering Callisto's pregnancy, Diana washed her feet and then she and her attendants disrobed. although Wheelock states that the episode seems unrelated to the mood of the painting.

Prompt: ディアナとニンフたちに関して、どのように批判的解説が議論されていますか？英語で出力して下さい。


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ディアナとニンフたち

The painting was created at about the time  Vermeer joined the painters' guild in Delft on December 29, 1653, at the age of 21, the same year he converted to Catholicism and married Catharina Bolnes. Leidtke speculates that the ideas of purity and fidelity symbolized in the painting were connected to Vermeer's marriage, and that perhaps the work was created in tribute to his new wife.With its less assured brushwork and cautious arrangement of elements, Diana is less mature in its technique and positioning of the figures than Martha and Mary, which may indicate the other work was painted afterward, as Vermeer's experience grew, according to Liedtke.

Prompt: ディアナとニンフたちに焦点を当てて、そのデート、位置、フェルメール、人生、作品を説明してください。英語で出力して下さい。


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ディアナとニンフたち

The painting was created at about the time  Vermeer joined the painters' guild in Delft on December 29, 1653, at the age of 21, the same year he converted to Catholicism and married Catharina Bolnes. Leidtke speculates that the ideas of purity and fidelity symbolized in the painting were connected to Vermeer's marriage, and that perhaps the work was created in tribute to his new wife.With its less assured brushwork and cautious arrangement of elements, Diana is less mature in its technique and positioning of the figures than Martha and Mary, which may indicate the other work was painted afterward, as Vermeer's experience grew, according to Liedtke.

Prompt: ディアナとニンフたちのデート、位置、フェルメール、人生、作品を説明してください。英語で出力して下さい。


section

ディアナとニンフたち

The painting was created at about the time  Vermeer joined the painters' guild in Delft on December 29, 1653, at the age of 21, the same year he converted to Catholicism and married Catharina Bolnes. Leidtke speculates that the ideas of purity and fidelity symbolized in the painting were connected to Vermeer's marriage, and that perhaps the work was created in tribute to his new wife.With its less assured brushwork and cautious arrangement of elements, Diana is less mature in its technique and positioning of the figures than Martha and Mary, which may indicate the other work was painted afterward, as Vermeer's experience grew, according to Liedtke.

Prompt: ディアナとニンフたちはどのようにデート、位置、フェルメール、人生、作品を説明していますか？英語で出力して下さい。


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ディアナとニンフたち

The painting was created at about the time  Vermeer joined the painters' guild in Delft on December 29, 1653, at the age of 21, the same year he converted to Catholicism and married Catharina Bolnes. Leidtke speculates that the ideas of purity and fidelity symbolized in the painting were connected to Vermeer's marriage, and that perhaps the work was created in tribute to his new wife.With its less assured brushwork and cautious arrangement of elements, Diana is less mature in its technique and positioning of the figures than Martha and Mary, which may indicate the other work was painted afterward, as Vermeer's experience grew, according to Liedtke.

Prompt: ディアナとニンフたちに関して、どのようにデート、位置、フェルメール、人生、作品が議論されていますか？英語で出力して下さい。


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ディアナとニンフたち

Neville Davison Goldsmid of The Hague owned the painting from 1866-1875, before it passed into the hands of his widow, Eliza Garey of The Hague and Paris. She sold it with other works at the Goldsmid sale on May 4, 1876, when Victor de Stuers bought it for the collection of the Koninklijk Kabinet van Schilderijen Mauritshuis, the Hague.Exhibitions: London, 1929 Amsterdam, 1945 Milan, 1951 Zurich, 1953 Rome, Milan, 1954 New York, Toledo, Toronto, 1954-1955 The Hague, Paris, 1966 Tokyo, Kyoto, 1968-1969 Washington, Detroit, Amsterdam 1980-1981 Washington and other cities , 1982-1984 Washington, The Hague, 1995-1996 Rotterdam, Frankfort, 1999-2000

Prompt: ディアナとニンフたちに焦点を当てて、その来歴と展示会を説明してください。英語で出力して下さい。


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ディアナとニンフたち

Neville Davison Goldsmid of The Hague owned the painting from 1866-1875, before it passed into the hands of his widow, Eliza Garey of The Hague and Paris. She sold it with other works at the Goldsmid sale on May 4, 1876, when Victor de Stuers bought it for the collection of the Koninklijk Kabinet van Schilderijen Mauritshuis, the Hague.Exhibitions: London, 1929 Amsterdam, 1945 Milan, 1951 Zurich, 1953 Rome, Milan, 1954 New York, Toledo, Toronto, 1954-1955 The Hague, Paris, 1966 Tokyo, Kyoto, 1968-1969 Washington, Detroit, Amsterdam 1980-1981 Washington and other cities , 1982-1984 Washington, The Hague, 1995-1996 Rotterdam, Frankfort, 1999-2000

Prompt: ディアナとニンフたちの来歴と展示会を説明してください。英語で出力して下さい。


section

ディアナとニンフたち

Neville Davison Goldsmid of The Hague owned the painting from 1866-1875, before it passed into the hands of his widow, Eliza Garey of The Hague and Paris. She sold it with other works at the Goldsmid sale on May 4, 1876, when Victor de Stuers bought it for the collection of the Koninklijk Kabinet van Schilderijen Mauritshuis, the Hague.Exhibitions: London, 1929 Amsterdam, 1945 Milan, 1951 Zurich, 1953 Rome, Milan, 1954 New York, Toledo, Toronto, 1954-1955 The Hague, Paris, 1966 Tokyo, Kyoto, 1968-1969 Washington, Detroit, Amsterdam 1980-1981 Washington and other cities , 1982-1984 Washington, The Hague, 1995-1996 Rotterdam, Frankfort, 1999-2000

Prompt: ディアナとニンフたちはどのように来歴と展示会を説明していますか？英語で出力して下さい。


section

ディアナとニンフたち

Neville Davison Goldsmid of The Hague owned the painting from 1866-1875, before it passed into the hands of his widow, Eliza Garey of The Hague and Paris. She sold it with other works at the Goldsmid sale on May 4, 1876, when Victor de Stuers bought it for the collection of the Koninklijk Kabinet van Schilderijen Mauritshuis, the Hague.Exhibitions: London, 1929 Amsterdam, 1945 Milan, 1951 Zurich, 1953 Rome, Milan, 1954 New York, Toledo, Toronto, 1954-1955 The Hague, Paris, 1966 Tokyo, Kyoto, 1968-1969 Washington, Detroit, Amsterdam 1980-1981 Washington and other cities , 1982-1984 Washington, The Hague, 1995-1996 Rotterdam, Frankfort, 1999-2000

Prompt: ディアナとニンフたちに関して、どのように来歴と展示会が議論されていますか？英語で出力して下さい。


section

ディアナとニンフたち

The painting is in relatively poor condition. It has been cleaned and restored on a number of occasions and has depreciated as a result. Several areas of the canvas differ significantly from the original work.

Prompt: ディアナとニンフたちに焦点を当てて、その条件を説明してください。英語で出力して下さい。


section

ディアナとニンフたち

The painting is in relatively poor condition. It has been cleaned and restored on a number of occasions and has depreciated as a result. Several areas of the canvas differ significantly from the original work.

Prompt: ディアナとニンフたちの条件を説明してください。英語で出力して下さい。


section

ディアナとニンフたち

The painting is in relatively poor condition. It has been cleaned and restored on a number of occasions and has depreciated as a result. Several areas of the canvas differ significantly from the original work.

Prompt: ディアナとニンフたちはどのように条件を説明していますか？英語で出力して下さい。


section

ディアナとニンフたち

The painting is in relatively poor condition. It has been cleaned and restored on a number of occasions and has depreciated as a result. Several areas of the canvas differ significantly from the original work.

Prompt: ディアナとニンフたちに関して、どのように条件が議論されていますか？英語で出力して下さい。


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ディアナとニンフたち

List of paintings by Johannes Vermeer Dutch Golden Age painting

Prompt: ディアナとニンフたちに焦点を当てて、その参照を説明してください。英語で出力して下さい。

Dutch Golden Age painting
Johannes Vermeer
List of paintings by Johannes Vermeer


section

ディアナとニンフたち

List of paintings by Johannes Vermeer Dutch Golden Age painting

Prompt: ディアナとニンフたちの参照を説明してください。英語で出力して下さい。

Dutch Golden Age painting
Johannes Vermeer
List of paintings by Johannes Vermeer


section

ディアナとニンフたち

List of paintings by Johannes Vermeer Dutch Golden Age painting

Prompt: ディアナとニンフたち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。

Dutch Golden Age painting
Johannes Vermeer
List of paintings by Johannes Vermeer


section

ディアナとニンフたち

List of paintings by Johannes Vermeer Dutch Golden Age painting

Prompt: ディアナとニンフたちに関して、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。

Dutch Golden Age painting
Johannes Vermeer
List of paintings by Johannes Vermeer


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ディアナとニンフたち

The painting depicts the Greek and Roman goddess Diana  with four of her companions. She wears a loose fitting, yellow dress with an animal-skin sash and, on her head, a diadem with a symbol of the crescent moon. As she sits on a rock, a nymph washes her left foot. Another, behind Diana, sits with her partially bare back to the viewer , a third nymph, sitting at Diana's left, holds her own left foot with her right hand. A fourth stands in the rear, somewhat apart from the rest of the group and facing them and the viewer at an angle, her eyes cast down, her fists in front of her. A dog sits in the lower left-hand corner near Diana, its back to the viewer as it faces the goddess, her attendants and, immediately in front of it, a thistle. Descriptions of the scene being in a "woodland glade" or "near the edge of a wood" may rely heavily on the patch of sky erroneously thought to be original to the painting, although light without shadows does fall on the scene from above and to the left, with short shadows forming to the viewer's right. The observation that the scene appeared to be taking place in "the gathering dusk" may have been influenced by the lighter, but darkening patch of sky contrasted sharply with the dark mass of foliage in the background of the painting, together with the shadows on all the visible faces.The painting is signed on the lower left, on the rock between the thistle and the dog.

Prompt: ディアナとニンフたちの文脈で、シーンとヌルを説明してください。英語で出力して下さい。


subsection

ディアナとニンフたち

The painting depicts the Greek and Roman goddess Diana  with four of her companions. She wears a loose fitting, yellow dress with an animal-skin sash and, on her head, a diadem with a symbol of the crescent moon. As she sits on a rock, a nymph washes her left foot. Another, behind Diana, sits with her partially bare back to the viewer , a third nymph, sitting at Diana's left, holds her own left foot with her right hand. A fourth stands in the rear, somewhat apart from the rest of the group and facing them and the viewer at an angle, her eyes cast down, her fists in front of her. A dog sits in the lower left-hand corner near Diana, its back to the viewer as it faces the goddess, her attendants and, immediately in front of it, a thistle. Descriptions of the scene being in a "woodland glade" or "near the edge of a wood" may rely heavily on the patch of sky erroneously thought to be original to the painting, although light without shadows does fall on the scene from above and to the left, with short shadows forming to the viewer's right. The observation that the scene appeared to be taking place in "the gathering dusk" may have been influenced by the lighter, but darkening patch of sky contrasted sharply with the dark mass of foliage in the background of the painting, together with the shadows on all the visible faces.The painting is signed on the lower left, on the rock between the thistle and the dog.

Prompt: ディアナとニンフたちのヌルに関するシーンを説明してください。英語で出力して下さい。


subsection

ディアナとニンフたち

The painting depicts the Greek and Roman goddess Diana  with four of her companions. She wears a loose fitting, yellow dress with an animal-skin sash and, on her head, a diadem with a symbol of the crescent moon. As she sits on a rock, a nymph washes her left foot. Another, behind Diana, sits with her partially bare back to the viewer , a third nymph, sitting at Diana's left, holds her own left foot with her right hand. A fourth stands in the rear, somewhat apart from the rest of the group and facing them and the viewer at an angle, her eyes cast down, her fists in front of her. A dog sits in the lower left-hand corner near Diana, its back to the viewer as it faces the goddess, her attendants and, immediately in front of it, a thistle. Descriptions of the scene being in a "woodland glade" or "near the edge of a wood" may rely heavily on the patch of sky erroneously thought to be original to the painting, although light without shadows does fall on the scene from above and to the left, with short shadows forming to the viewer's right. The observation that the scene appeared to be taking place in "the gathering dusk" may have been influenced by the lighter, but darkening patch of sky contrasted sharply with the dark mass of foliage in the background of the painting, together with the shadows on all the visible faces.The painting is signed on the lower left, on the rock between the thistle and the dog.

Prompt: ディアナとニンフたちでは、どのようにヌルのシーンが説明されていますか？英語で出力して下さい。


subsection

ディアナとニンフたち

The painting depicts the Greek and Roman goddess Diana  with four of her companions. She wears a loose fitting, yellow dress with an animal-skin sash and, on her head, a diadem with a symbol of the crescent moon. As she sits on a rock, a nymph washes her left foot. Another, behind Diana, sits with her partially bare back to the viewer , a third nymph, sitting at Diana's left, holds her own left foot with her right hand. A fourth stands in the rear, somewhat apart from the rest of the group and facing them and the viewer at an angle, her eyes cast down, her fists in front of her. A dog sits in the lower left-hand corner near Diana, its back to the viewer as it faces the goddess, her attendants and, immediately in front of it, a thistle. Descriptions of the scene being in a "woodland glade" or "near the edge of a wood" may rely heavily on the patch of sky erroneously thought to be original to the painting, although light without shadows does fall on the scene from above and to the left, with short shadows forming to the viewer's right. The observation that the scene appeared to be taking place in "the gathering dusk" may have been influenced by the lighter, but darkening patch of sky contrasted sharply with the dark mass of foliage in the background of the painting, together with the shadows on all the visible faces.The painting is signed on the lower left, on the rock between the thistle and the dog.

Prompt: ディアナとニンフたちのヌルにおけるシーンの特徴を説明してください。英語で出力して下さい。


subsection

ディアナとニンフたち

The canvas is a plain weave linen with a thread count of 14.3  by 10 per square centimeter. Vermeer first outlined the composition with dark brown brushwork (some of which shows through as pentimenti in the skirt of the woman washing Diana's foot. Hairs on the dog's ear were scratched in with the handle of the artist's brush. Paint has been lost in vertical lines left of the painting's center.

Prompt: ディアナとニンフたちの文脈で、技術説明とヌルを説明してください。英語で出力して下さい。


subsection

ディアナとニンフたち

The canvas is a plain weave linen with a thread count of 14.3  by 10 per square centimeter. Vermeer first outlined the composition with dark brown brushwork (some of which shows through as pentimenti in the skirt of the woman washing Diana's foot. Hairs on the dog's ear were scratched in with the handle of the artist's brush. Paint has been lost in vertical lines left of the painting's center.

Prompt: ディアナとニンフたちのヌルに関する技術説明を説明してください。英語で出力して下さい。


subsection

ディアナとニンフたち

The canvas is a plain weave linen with a thread count of 14.3  by 10 per square centimeter. Vermeer first outlined the composition with dark brown brushwork (some of which shows through as pentimenti in the skirt of the woman washing Diana's foot. Hairs on the dog's ear were scratched in with the handle of the artist's brush. Paint has been lost in vertical lines left of the painting's center.

Prompt: ディアナとニンフたちでは、どのようにヌルの技術説明が説明されていますか？英語で出力して下さい。


subsection

ディアナとニンフたち

The canvas is a plain weave linen with a thread count of 14.3  by 10 per square centimeter. Vermeer first outlined the composition with dark brown brushwork (some of which shows through as pentimenti in the skirt of the woman washing Diana's foot. Hairs on the dog's ear were scratched in with the handle of the artist's brush. Paint has been lost in vertical lines left of the painting's center.

Prompt: ディアナとニンフたちのヌルにおける技術説明の特徴を説明してください。英語で出力して下さい。


section

桟敷席

Loge  is an 1874 oil painting by Pierre-Auguste Renoir. It is part of the collection at the Courtauld Institute of Art in London.The painting depicts a young couple in a box at the Paris theatre. The woman was modelled by Nini Lopez, Renoir's new model who would feature in fourteen of his paintings over the next few years. The man was his brother Edmond, a journalist and art critic. Going to the theatre was as much about being seen as watching the performance and whilst the woman is making her presence obvious, her companion is scanning the audience through his opera-glasses. Loge was included in the Salon in 1874, where reaction was mixed. It was subsequently shown in London in an exhibition organised by his dealer Paul Durand-Ruel, making it one of the earliest Impressionist paintings to be shown in England, but did not sell at either exhibition. It was bought the following year by the dealer ‘Père’ Martin for 425 francs.

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

Courtauld Institute of Art
London
Paul Durand-Ruel
Pierre-Auguste Renoir


section

桟敷席

Loge  is an 1874 oil painting by Pierre-Auguste Renoir. It is part of the collection at the Courtauld Institute of Art in London.The painting depicts a young couple in a box at the Paris theatre. The woman was modelled by Nini Lopez, Renoir's new model who would feature in fourteen of his paintings over the next few years. The man was his brother Edmond, a journalist and art critic. Going to the theatre was as much about being seen as watching the performance and whilst the woman is making her presence obvious, her companion is scanning the audience through his opera-glasses. Loge was included in the Salon in 1874, where reaction was mixed. It was subsequently shown in London in an exhibition organised by his dealer Paul Durand-Ruel, making it one of the earliest Impressionist paintings to be shown in England, but did not sell at either exhibition. It was bought the following year by the dealer ‘Père’ Martin for 425 francs.

Prompt: 桟敷席の抽象を説明してください。英語で出力して下さい。

Courtauld Institute of Art
London
Paul Durand-Ruel
Pierre-Auguste Renoir


section

桟敷席

Loge  is an 1874 oil painting by Pierre-Auguste Renoir. It is part of the collection at the Courtauld Institute of Art in London.The painting depicts a young couple in a box at the Paris theatre. The woman was modelled by Nini Lopez, Renoir's new model who would feature in fourteen of his paintings over the next few years. The man was his brother Edmond, a journalist and art critic. Going to the theatre was as much about being seen as watching the performance and whilst the woman is making her presence obvious, her companion is scanning the audience through his opera-glasses. Loge was included in the Salon in 1874, where reaction was mixed. It was subsequently shown in London in an exhibition organised by his dealer Paul Durand-Ruel, making it one of the earliest Impressionist paintings to be shown in England, but did not sell at either exhibition. It was bought the following year by the dealer ‘Père’ Martin for 425 francs.

Prompt: 桟敷席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。

Courtauld Institute of Art
London
Paul Durand-Ruel
Pierre-Auguste Renoir


section

桟敷席

Loge  is an 1874 oil painting by Pierre-Auguste Renoir. It is part of the collection at the Courtauld Institute of Art in London.The painting depicts a young couple in a box at the Paris theatre. The woman was modelled by Nini Lopez, Renoir's new model who would feature in fourteen of his paintings over the next few years. The man was his brother Edmond, a journalist and art critic. Going to the theatre was as much about being seen as watching the performance and whilst the woman is making her presence obvious, her companion is scanning the audience through his opera-glasses. Loge was included in the Salon in 1874, where reaction was mixed. It was subsequently shown in London in an exhibition organised by his dealer Paul Durand-Ruel, making it one of the earliest Impressionist paintings to be shown in England, but did not sell at either exhibition. It was bought the following year by the dealer ‘Père’ Martin for 425 francs.

Prompt: 桟敷席に関して、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。

Courtauld Institute of Art
London
Paul Durand-Ruel
Pierre-Auguste Renoir


section

桟敷席

List of paintings by Pierre-Auguste Renoir

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


section

桟敷席

List of paintings by Pierre-Auguste Renoir

Prompt: 桟敷席の参照を説明してください。英語で出力して下さい。


section

桟敷席

List of paintings by Pierre-Auguste Renoir

Prompt: 桟敷席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

桟敷席

List of paintings by Pierre-Auguste Renoir

Prompt: 桟敷席に関して、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

ハルピュイアの聖母

Madonna of the Harpies  is an altarpiece in oils by Andrea del Sarto, a major painter of the High Renaissance.  It was commissioned in 1515 and signed and dated by the artist in 1517 in the inscription on the pedestal; it is now in the Uffizi in Florence.  It was praised by Vasari, and is arguably the artist's best-known work.The Virgin is standing on a pedestal which includes harpies sculpted in relief, from which the painting takes its name.  At least Vasari, and presumably his Florentine contemporaries, thought they were harpies; some modern art historians think that locusts are represented, in a reference to the Book of Revelation; either way they represent forces of evil being trampled on by the Virgin.It is a sacra conversazione showing the Virgin and Child flanked by putti angels and two saints .  Compared to the stillness of earlier paintings of similar groups, here the "dynamism of the High Renaissance was inimical to the static quality of 15th-century art", so that "a composition of fundamentally classical purity is animated by a nervous energy in the figures to produce an unsettling impression of variety."It was completed in 1517 for the church of the convent and hospital of San Francesco dei Macci in Florence; this was run by the Poor Clares and is long closed, but the church building survives.  The figures have a Leonardo-like aura, with a pyramid shaped composition.   The harpies, figures from pagan mythology , here represent temptation and sin, which the Virgin has conquered and stands upon. The Christ Child is shown as unusually old, and has an athletic contrapposto pose.  He looks down to the putti, and all three have a "mischiefness" that contrasts with the serious, abstracted, air of the adults.The main character in the Kürk Mantolu Madonna , a novel written by Turkish writer Sabahattin Ali, is a depiction of the Virgin Mary in Madonna of the Harpies.

Prompt: ハルピュイアの聖母に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Andrea del Sarto
Book of Revelation
Florence
High Renaissance
Poor Clares
Sabahattin Ali
San Francesco dei Macci
Uffizi


section

ハルピュイアの聖母

Madonna of the Harpies  is an altarpiece in oils by Andrea del Sarto, a major painter of the High Renaissance.  It was commissioned in 1515 and signed and dated by the artist in 1517 in the inscription on the pedestal; it is now in the Uffizi in Florence.  It was praised by Vasari, and is arguably the artist's best-known work.The Virgin is standing on a pedestal which includes harpies sculpted in relief, from which the painting takes its name.  At least Vasari, and presumably his Florentine contemporaries, thought they were harpies; some modern art historians think that locusts are represented, in a reference to the Book of Revelation; either way they represent forces of evil being trampled on by the Virgin.It is a sacra conversazione showing the Virgin and Child flanked by putti angels and two saints .  Compared to the stillness of earlier paintings of similar groups, here the "dynamism of the High Renaissance was inimical to the static quality of 15th-century art", so that "a composition of fundamentally classical purity is animated by a nervous energy in the figures to produce an unsettling impression of variety."It was completed in 1517 for the church of the convent and hospital of San Francesco dei Macci in Florence; this was run by the Poor Clares and is long closed, but the church building survives.  The figures have a Leonardo-like aura, with a pyramid shaped composition.   The harpies, figures from pagan mythology , here represent temptation and sin, which the Virgin has conquered and stands upon. The Christ Child is shown as unusually old, and has an athletic contrapposto pose.  He looks down to the putti, and all three have a "mischiefness" that contrasts with the serious, abstracted, air of the adults.The main character in the Kürk Mantolu Madonna , a novel written by Turkish writer Sabahattin Ali, is a depiction of the Virgin Mary in Madonna of the Harpies.

Prompt: ハルピュイアの聖母の抽象を説明してください。英語で出力して下さい。

Andrea del Sarto
Book of Revelation
Florence
High Renaissance
Poor Clares
Sabahattin Ali
San Francesco dei Macci
Uffizi


section

ハルピュイアの聖母

Madonna of the Harpies  is an altarpiece in oils by Andrea del Sarto, a major painter of the High Renaissance.  It was commissioned in 1515 and signed and dated by the artist in 1517 in the inscription on the pedestal; it is now in the Uffizi in Florence.  It was praised by Vasari, and is arguably the artist's best-known work.The Virgin is standing on a pedestal which includes harpies sculpted in relief, from which the painting takes its name.  At least Vasari, and presumably his Florentine contemporaries, thought they were harpies; some modern art historians think that locusts are represented, in a reference to the Book of Revelation; either way they represent forces of evil being trampled on by the Virgin.It is a sacra conversazione showing the Virgin and Child flanked by putti angels and two saints .  Compared to the stillness of earlier paintings of similar groups, here the "dynamism of the High Renaissance was inimical to the static quality of 15th-century art", so that "a composition of fundamentally classical purity is animated by a nervous energy in the figures to produce an unsettling impression of variety."It was completed in 1517 for the church of the convent and hospital of San Francesco dei Macci in Florence; this was run by the Poor Clares and is long closed, but the church building survives.  The figures have a Leonardo-like aura, with a pyramid shaped composition.   The harpies, figures from pagan mythology , here represent temptation and sin, which the Virgin has conquered and stands upon. The Christ Child is shown as unusually old, and has an athletic contrapposto pose.  He looks down to the putti, and all three have a "mischiefness" that contrasts with the serious, abstracted, air of the adults.The main character in the Kürk Mantolu Madonna , a novel written by Turkish writer Sabahattin Ali, is a depiction of the Virgin Mary in Madonna of the Harpies.

Prompt: ハルピュイアの聖母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。

Andrea del Sarto
Book of Revelation
Florence
High Renaissance
Poor Clares
Sabahattin Ali
San Francesco dei Macci
Uffizi


section

ハルピュイアの聖母

Madonna of the Harpies  is an altarpiece in oils by Andrea del Sarto, a major painter of the High Renaissance.  It was commissioned in 1515 and signed and dated by the artist in 1517 in the inscription on the pedestal; it is now in the Uffizi in Florence.  It was praised by Vasari, and is arguably the artist's best-known work.The Virgin is standing on a pedestal which includes harpies sculpted in relief, from which the painting takes its name.  At least Vasari, and presumably his Florentine contemporaries, thought they were harpies; some modern art historians think that locusts are represented, in a reference to the Book of Revelation; either way they represent forces of evil being trampled on by the Virgin.It is a sacra conversazione showing the Virgin and Child flanked by putti angels and two saints .  Compared to the stillness of earlier paintings of similar groups, here the "dynamism of the High Renaissance was inimical to the static quality of 15th-century art", so that "a composition of fundamentally classical purity is animated by a nervous energy in the figures to produce an unsettling impression of variety."It was completed in 1517 for the church of the convent and hospital of San Francesco dei Macci in Florence; this was run by the Poor Clares and is long closed, but the church building survives.  The figures have a Leonardo-like aura, with a pyramid shaped composition.   The harpies, figures from pagan mythology , here represent temptation and sin, which the Virgin has conquered and stands upon. The Christ Child is shown as unusually old, and has an athletic contrapposto pose.  He looks down to the putti, and all three have a "mischiefness" that contrasts with the serious, abstracted, air of the adults.The main character in the Kürk Mantolu Madonna , a novel written by Turkish writer Sabahattin Ali, is a depiction of the Virgin Mary in Madonna of the Harpies.

Prompt: ハルピュイアの聖母に関して、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。

Andrea del Sarto
Book of Revelation
Florence
High Renaissance
Poor Clares
Sabahattin Ali
San Francesco dei Macci
Uffizi


section

オンニサンティの聖母

medium=Tempera on panel height_metric=325 width_metric=204 metric_unit=cm imperial_unit=in museum = Uffizi Gallery city=Florence}}Madonna Enthroned, also known as the Ognissanti Madonna or Madonna Ognissanti, is a painting in tempera on wood panel by the Italian late medieval artist Giotto di Bondone, now in the Uffizi Gallery of Florence, Italy.The painting has the traditional Christian subject, of the Madonna and Child, representing the Virgin Mary and the Christ Child seated on her lap, with saints and angels surrounding them on all sides. This particular representation of the Virgin, enthroned and surrounded by a court-like company, is called a Maestà, a popular representation at the time. It is often celebrated as the first painting of Italian Renaissance painting due to its newfound naturalism and escape from the constraints of Italo-Byzantine and Gothic art.It is generally dated to around 1310. While historians have had trouble finding specific information for indisputably attributing many of Giotto's works to the artist, Madonna Enthroned is one piece for which there are a few documents supporting its creation by Giotto.  There are many sources that show he spent many years living and creating in Florence. However, the main source that documents Madonna Enthroned specifically is artist Lorenzo Ghiberti's autobiography, I Commentarii .  An earlier manuscript document of 1418 also attributes the painting to Giotto, but it is Ghiberti's autobiography that provides the most solid evidence.One of Giotto's later works, Madonna Enthroned was completed in Florence, upon the artist's return to the city.  It was originally painted for the Ognissanti church in Florence.  Built for the Humiliati, a small religious order at the time, the church had many acclaimed paintings designed for it.  Specifically, Giotto's Madonna Enthroned was designed for the high altar.

Prompt: オンニサンティの聖母に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Christ Child
Florence
Florence
Giotto
Giotto
Gothic art
Humiliati
Italian Renaissance painting
Italo-Byzantine
Lorenzo Ghiberti
Maestà
Uffizi


section

オンニサンティの聖母

medium=Tempera on panel height_metric=325 width_metric=204 metric_unit=cm imperial_unit=in museum = Uffizi Gallery city=Florence}}Madonna Enthroned, also known as the Ognissanti Madonna or Madonna Ognissanti, is a painting in tempera on wood panel by the Italian late medieval artist Giotto di Bondone, now in the Uffizi Gallery of Florence, Italy.The painting has the traditional Christian subject, of the Madonna and Child, representing the Virgin Mary and the Christ Child seated on her lap, with saints and angels surrounding them on all sides. This particular representation of the Virgin, enthroned and surrounded by a court-like company, is called a Maestà, a popular representation at the time. It is often celebrated as the first painting of Italian Renaissance painting due to its newfound naturalism and escape from the constraints of Italo-Byzantine and Gothic art.It is generally dated to around 1310. While historians have had trouble finding specific information for indisputably attributing many of Giotto's works to the artist, Madonna Enthroned is one piece for which there are a few documents supporting its creation by Giotto.  There are many sources that show he spent many years living and creating in Florence. However, the main source that documents Madonna Enthroned specifically is artist Lorenzo Ghiberti's autobiography, I Commentarii .  An earlier manuscript document of 1418 also attributes the painting to Giotto, but it is Ghiberti's autobiography that provides the most solid evidence.One of Giotto's later works, Madonna Enthroned was completed in Florence, upon the artist's return to the city.  It was originally painted for the Ognissanti church in Florence.  Built for the Humiliati, a small religious order at the time, the church had many acclaimed paintings designed for it.  Specifically, Giotto's Madonna Enthroned was designed for the high altar.

Prompt: オンニサンティの聖母の抽象を説明してください。英語で出力して下さい。

Christ Child
Florence
Florence
Giotto
Giotto
Gothic art
Humiliati
Italian Renaissance painting
Italo-Byzantine
Lorenzo Ghiberti
Maestà
Uffizi


section

オンニサンティの聖母

medium=Tempera on panel height_metric=325 width_metric=204 metric_unit=cm imperial_unit=in museum = Uffizi Gallery city=Florence}}Madonna Enthroned, also known as the Ognissanti Madonna or Madonna Ognissanti, is a painting in tempera on wood panel by the Italian late medieval artist Giotto di Bondone, now in the Uffizi Gallery of Florence, Italy.The painting has the traditional Christian subject, of the Madonna and Child, representing the Virgin Mary and the Christ Child seated on her lap, with saints and angels surrounding them on all sides. This particular representation of the Virgin, enthroned and surrounded by a court-like company, is called a Maestà, a popular representation at the time. It is often celebrated as the first painting of Italian Renaissance painting due to its newfound naturalism and escape from the constraints of Italo-Byzantine and Gothic art.It is generally dated to around 1310. While historians have had trouble finding specific information for indisputably attributing many of Giotto's works to the artist, Madonna Enthroned is one piece for which there are a few documents supporting its creation by Giotto.  There are many sources that show he spent many years living and creating in Florence. However, the main source that documents Madonna Enthroned specifically is artist Lorenzo Ghiberti's autobiography, I Commentarii .  An earlier manuscript document of 1418 also attributes the painting to Giotto, but it is Ghiberti's autobiography that provides the most solid evidence.One of Giotto's later works, Madonna Enthroned was completed in Florence, upon the artist's return to the city.  It was originally painted for the Ognissanti church in Florence.  Built for the Humiliati, a small religious order at the time, the church had many acclaimed paintings designed for it.  Specifically, Giotto's Madonna Enthroned was designed for the high altar.

Prompt: オンニサンティの聖母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。

Christ Child
Florence
Florence
Giotto
Giotto
Gothic art
Humiliati
Italian Renaissance painting
Italo-Byzantine
Lorenzo Ghiberti
Maestà
Uffizi


section

オンニサンティの聖母

medium=Tempera on panel height_metric=325 width_metric=204 metric_unit=cm imperial_unit=in museum = Uffizi Gallery city=Florence}}Madonna Enthroned, also known as the Ognissanti Madonna or Madonna Ognissanti, is a painting in tempera on wood panel by the Italian late medieval artist Giotto di Bondone, now in the Uffizi Gallery of Florence, Italy.The painting has the traditional Christian subject, of the Madonna and Child, representing the Virgin Mary and the Christ Child seated on her lap, with saints and angels surrounding them on all sides. This particular representation of the Virgin, enthroned and surrounded by a court-like company, is called a Maestà, a popular representation at the time. It is often celebrated as the first painting of Italian Renaissance painting due to its newfound naturalism and escape from the constraints of Italo-Byzantine and Gothic art.It is generally dated to around 1310. While historians have had trouble finding specific information for indisputably attributing many of Giotto's works to the artist, Madonna Enthroned is one piece for which there are a few documents supporting its creation by Giotto.  There are many sources that show he spent many years living and creating in Florence. However, the main source that documents Madonna Enthroned specifically is artist Lorenzo Ghiberti's autobiography, I Commentarii .  An earlier manuscript document of 1418 also attributes the painting to Giotto, but it is Ghiberti's autobiography that provides the most solid evidence.One of Giotto's later works, Madonna Enthroned was completed in Florence, upon the artist's return to the city.  It was originally painted for the Ognissanti church in Florence.  Built for the Humiliati, a small religious order at the time, the church had many acclaimed paintings designed for it.  Specifically, Giotto's Madonna Enthroned was designed for the high altar.

Prompt: オンニサンティの聖母に関して、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。

Christ Child
Florence
Florence
Giotto
Giotto
Gothic art
Humiliati
Italian Renaissance painting
Italo-Byzantine
Lorenzo Ghiberti
Maestà
Uffizi


section

オンニサンティの聖母

The 'Madonna Enthroned' shows the numerous styles of art that influenced Giotto. In both the gold coloring used throughout the artwork and the flat gold ground, Giotto's art continued the traditional Italo-Byzantine style usual in the proto-Renaissance period.  The altarpiece represents a formalized representation of an icon, still retaining the stiffness of Byzantine art, and Giotto retained the hierarchy of scale, making the centralized Madonna and the Christ Child much larger in size than the surrounding saints and religious figures.Giotto's figures, however, escape the bounds of Byzantine art.  His figures are weighty and are reminiscent of three-dimensional sculptures, such as those in classical Roman sculpture.  The Madonna's intricately decorated throne, which itself is an Italian Gothic design, has a very specific use of colored marble as a surface decoration.  This method of decoration, based on a style called Cosmatesque or Cosmati, was popular in Rome since the Early Christian period and in Tuscany in the te Middle Ages.There were, additionally, a number of specific artists whose styles heavily influenced the Ognissanti Madonna. The influence of Cimabue, traditionally recognized as Giotto's teacher , is shown first in the very symmetrical composition of the piece. Cimabue portrayed the same subject of symmetry in his Santa Trinita Maestà , also a Virgin and Child Enthroned, and both pieces share aspects of the Italo-Byzantine style, with Cimabue's having more Byzantine attributes.  Additionally, the two depictions of the angels' wings in Giotto and Cimabue's pieces clearly resemble each other. Both pieces share a similar, initial feeling of severity, yet there is more to each piece than the drama. Giotto adopted from his teacher the importance of, and the concern for, volume and forms in space.The tranquility of Giotto's figures resembled also the style of Pietro Cavallini.  From this artist, who painted neo-Byzantine pieces, taking cues from both mosaics and frescos from Roman and Early Christian times, Giotto took important lessons in the technique of painting, and in rendering figures as statuesque and calm.stly, Giotto took cues from many contemporary sculptors, including Nicola and Giovanni Pisano, whose work shares influences of Northern Gothic art. In the work of these artists, Giotto saw great, dramatic compositions that would certainly influence his Ognissanti Madonna.

Prompt: オンニサンティの聖母に焦点を当てて、その影響を説明してください。英語で出力して下さい。

Christ Child
Cimabue
Cosmatesque
Giotto
Giotto
Giovanni Pisano
Gothic art
Italo-Byzantine
Maestà
Pietro Cavallini
Santa Trinita Maestà


section

オンニサンティの聖母

The 'Madonna Enthroned' shows the numerous styles of art that influenced Giotto. In both the gold coloring used throughout the artwork and the flat gold ground, Giotto's art continued the traditional Italo-Byzantine style usual in the proto-Renaissance period.  The altarpiece represents a formalized representation of an icon, still retaining the stiffness of Byzantine art, and Giotto retained the hierarchy of scale, making the centralized Madonna and the Christ Child much larger in size than the surrounding saints and religious figures.Giotto's figures, however, escape the bounds of Byzantine art.  His figures are weighty and are reminiscent of three-dimensional sculptures, such as those in classical Roman sculpture.  The Madonna's intricately decorated throne, which itself is an Italian Gothic design, has a very specific use of colored marble as a surface decoration.  This method of decoration, based on a style called Cosmatesque or Cosmati, was popular in Rome since the Early Christian period and in Tuscany in the te Middle Ages.There were, additionally, a number of specific artists whose styles heavily influenced the Ognissanti Madonna. The influence of Cimabue, traditionally recognized as Giotto's teacher , is shown first in the very symmetrical composition of the piece. Cimabue portrayed the same subject of symmetry in his Santa Trinita Maestà , also a Virgin and Child Enthroned, and both pieces share aspects of the Italo-Byzantine style, with Cimabue's having more Byzantine attributes.  Additionally, the two depictions of the angels' wings in Giotto and Cimabue's pieces clearly resemble each other. Both pieces share a similar, initial feeling of severity, yet there is more to each piece than the drama. Giotto adopted from his teacher the importance of, and the concern for, volume and forms in space.The tranquility of Giotto's figures resembled also the style of Pietro Cavallini.  From this artist, who painted neo-Byzantine pieces, taking cues from both mosaics and frescos from Roman and Early Christian times, Giotto took important lessons in the technique of painting, and in rendering figures as statuesque and calm.stly, Giotto took cues from many contemporary sculptors, including Nicola and Giovanni Pisano, whose work shares influences of Northern Gothic art. In the work of these artists, Giotto saw great, dramatic compositions that would certainly influence his Ognissanti Madonna.

Prompt: オンニサンティの聖母の影響を説明してください。英語で出力して下さい。

Christ Child
Cimabue
Cosmatesque
Giotto
Giotto
Giovanni Pisano
Gothic art
Italo-Byzantine
Maestà
Pietro Cavallini
Santa Trinita Maestà


section

オンニサンティの聖母

The 'Madonna Enthroned' shows the numerous styles of art that influenced Giotto. In both the gold coloring used throughout the artwork and the flat gold ground, Giotto's art continued the traditional Italo-Byzantine style usual in the proto-Renaissance period.  The altarpiece represents a formalized representation of an icon, still retaining the stiffness of Byzantine art, and Giotto retained the hierarchy of scale, making the centralized Madonna and the Christ Child much larger in size than the surrounding saints and religious figures.Giotto's figures, however, escape the bounds of Byzantine art.  His figures are weighty and are reminiscent of three-dimensional sculptures, such as those in classical Roman sculpture.  The Madonna's intricately decorated throne, which itself is an Italian Gothic design, has a very specific use of colored marble as a surface decoration.  This method of decoration, based on a style called Cosmatesque or Cosmati, was popular in Rome since the Early Christian period and in Tuscany in the te Middle Ages.There were, additionally, a number of specific artists whose styles heavily influenced the Ognissanti Madonna. The influence of Cimabue, traditionally recognized as Giotto's teacher , is shown first in the very symmetrical composition of the piece. Cimabue portrayed the same subject of symmetry in his Santa Trinita Maestà , also a Virgin and Child Enthroned, and both pieces share aspects of the Italo-Byzantine style, with Cimabue's having more Byzantine attributes.  Additionally, the two depictions of the angels' wings in Giotto and Cimabue's pieces clearly resemble each other. Both pieces share a similar, initial feeling of severity, yet there is more to each piece than the drama. Giotto adopted from his teacher the importance of, and the concern for, volume and forms in space.The tranquility of Giotto's figures resembled also the style of Pietro Cavallini.  From this artist, who painted neo-Byzantine pieces, taking cues from both mosaics and frescos from Roman and Early Christian times, Giotto took important lessons in the technique of painting, and in rendering figures as statuesque and calm.stly, Giotto took cues from many contemporary sculptors, including Nicola and Giovanni Pisano, whose work shares influences of Northern Gothic art. In the work of these artists, Giotto saw great, dramatic compositions that would certainly influence his Ognissanti Madonna.

Prompt: オンニサンティの聖母はどのように影響を説明していますか？英語で出力して下さい。

Christ Child
Cimabue
Cosmatesque
Giotto
Giotto
Giovanni Pisano
Gothic art
Italo-Byzantine
Maestà
Pietro Cavallini
Santa Trinita Maestà


section

オンニサンティの聖母

The 'Madonna Enthroned' shows the numerous styles of art that influenced Giotto. In both the gold coloring used throughout the artwork and the flat gold ground, Giotto's art continued the traditional Italo-Byzantine style usual in the proto-Renaissance period.  The altarpiece represents a formalized representation of an icon, still retaining the stiffness of Byzantine art, and Giotto retained the hierarchy of scale, making the centralized Madonna and the Christ Child much larger in size than the surrounding saints and religious figures.Giotto's figures, however, escape the bounds of Byzantine art.  His figures are weighty and are reminiscent of three-dimensional sculptures, such as those in classical Roman sculpture.  The Madonna's intricately decorated throne, which itself is an Italian Gothic design, has a very specific use of colored marble as a surface decoration.  This method of decoration, based on a style called Cosmatesque or Cosmati, was popular in Rome since the Early Christian period and in Tuscany in the te Middle Ages.There were, additionally, a number of specific artists whose styles heavily influenced the Ognissanti Madonna. The influence of Cimabue, traditionally recognized as Giotto's teacher , is shown first in the very symmetrical composition of the piece. Cimabue portrayed the same subject of symmetry in his Santa Trinita Maestà , also a Virgin and Child Enthroned, and both pieces share aspects of the Italo-Byzantine style, with Cimabue's having more Byzantine attributes.  Additionally, the two depictions of the angels' wings in Giotto and Cimabue's pieces clearly resemble each other. Both pieces share a similar, initial feeling of severity, yet there is more to each piece than the drama. Giotto adopted from his teacher the importance of, and the concern for, volume and forms in space.The tranquility of Giotto's figures resembled also the style of Pietro Cavallini.  From this artist, who painted neo-Byzantine pieces, taking cues from both mosaics and frescos from Roman and Early Christian times, Giotto took important lessons in the technique of painting, and in rendering figures as statuesque and calm.stly, Giotto took cues from many contemporary sculptors, including Nicola and Giovanni Pisano, whose work shares influences of Northern Gothic art. In the work of these artists, Giotto saw great, dramatic compositions that would certainly influence his Ognissanti Madonna.

Prompt: オンニサンティの聖母に関して、どのように影響が議論されていますか？英語で出力して下さい。

Christ Child
Cimabue
Cosmatesque
Giotto
Giotto
Giovanni Pisano
Gothic art
Italo-Byzantine
Maestà
Pietro Cavallini
Santa Trinita Maestà


section

オンニサンティの聖母

Giotto was one of the first artists to capitalize on the potentialities of the practice of convincing three-dimensional space in paintings and reliefs. Giotto’s utilization of figure and frame enhances the illusion of special continuity beyond the confines of the artificial frame; This has been consistently evident across his extensive series of frescoes he created after 1305 in the Arena Chapel of Padua. The relation he's created between the painted frames to the painted figures gives an invitation for analysis.Additionally, he used a much smaller space than other contemporary artists, further emphasizing the importance of the bodies in the artwork. Giotto did away with many aspects of Byzantine art that would flatten the painting.  Within Cimabue's Santa Trinita Maestà, there is the use of gold tracing to delineate the folds of the fabric.  In contrast to this, Giotto's fabric folds are more realistic, and instead of lines he used light, shadow, and color to create the appearance of fabric.  Contours of the body underneath these fabric folds are also visible, specifically in the Virgin's knees and also around her breasts.Giotto used a value scale, a distinct range of light and dark, to create a sense of volume in his figures, giving them the slight smokiness that is usually characteristic of Leonardo da Vinci and later Renaissance artists. Unlike in other paintings by Giotto, the light source in Ognissanti Madonna is located on the right side of the piece as opposed to the left. The meaning behind this is not known for sure, although a few logical reasons for this could be the Ognissanti Madonna's placement within the church or Giotto's use of exaggeration with lighting.

Prompt: オンニサンティの聖母に焦点を当てて、その技術を説明してください。英語で出力して下さい。

Cimabue
Giotto
Giotto
Leonardo da Vinci
Maestà
Santa Trinita Maestà


section

オンニサンティの聖母

Giotto was one of the first artists to capitalize on the potentialities of the practice of convincing three-dimensional space in paintings and reliefs. Giotto’s utilization of figure and frame enhances the illusion of special continuity beyond the confines of the artificial frame; This has been consistently evident across his extensive series of frescoes he created after 1305 in the Arena Chapel of Padua. The relation he's created between the painted frames to the painted figures gives an invitation for analysis.Additionally, he used a much smaller space than other contemporary artists, further emphasizing the importance of the bodies in the artwork. Giotto did away with many aspects of Byzantine art that would flatten the painting.  Within Cimabue's Santa Trinita Maestà, there is the use of gold tracing to delineate the folds of the fabric.  In contrast to this, Giotto's fabric folds are more realistic, and instead of lines he used light, shadow, and color to create the appearance of fabric.  Contours of the body underneath these fabric folds are also visible, specifically in the Virgin's knees and also around her breasts.Giotto used a value scale, a distinct range of light and dark, to create a sense of volume in his figures, giving them the slight smokiness that is usually characteristic of Leonardo da Vinci and later Renaissance artists. Unlike in other paintings by Giotto, the light source in Ognissanti Madonna is located on the right side of the piece as opposed to the left. The meaning behind this is not known for sure, although a few logical reasons for this could be the Ognissanti Madonna's placement within the church or Giotto's use of exaggeration with lighting.

Prompt: オンニサンティの聖母の技術を説明してください。英語で出力して下さい。

Cimabue
Giotto
Giotto
Leonardo da Vinci
Maestà
Santa Trinita Maestà


section

オンニサンティの聖母

Giotto was one of the first artists to capitalize on the potentialities of the practice of convincing three-dimensional space in paintings and reliefs. Giotto’s utilization of figure and frame enhances the illusion of special continuity beyond the confines of the artificial frame; This has been consistently evident across his extensive series of frescoes he created after 1305 in the Arena Chapel of Padua. The relation he's created between the painted frames to the painted figures gives an invitation for analysis.Additionally, he used a much smaller space than other contemporary artists, further emphasizing the importance of the bodies in the artwork. Giotto did away with many aspects of Byzantine art that would flatten the painting.  Within Cimabue's Santa Trinita Maestà, there is the use of gold tracing to delineate the folds of the fabric.  In contrast to this, Giotto's fabric folds are more realistic, and instead of lines he used light, shadow, and color to create the appearance of fabric.  Contours of the body underneath these fabric folds are also visible, specifically in the Virgin's knees and also around her breasts.Giotto used a value scale, a distinct range of light and dark, to create a sense of volume in his figures, giving them the slight smokiness that is usually characteristic of Leonardo da Vinci and later Renaissance artists. Unlike in other paintings by Giotto, the light source in Ognissanti Madonna is located on the right side of the piece as opposed to the left. The meaning behind this is not known for sure, although a few logical reasons for this could be the Ognissanti Madonna's placement within the church or Giotto's use of exaggeration with lighting.

Prompt: オンニサンティの聖母はどのように技術を説明していますか？英語で出力して下さい。

Cimabue
Giotto
Giotto
Leonardo da Vinci
Maestà
Santa Trinita Maestà


section

オンニサンティの聖母

Giotto was one of the first artists to capitalize on the potentialities of the practice of convincing three-dimensional space in paintings and reliefs. Giotto’s utilization of figure and frame enhances the illusion of special continuity beyond the confines of the artificial frame; This has been consistently evident across his extensive series of frescoes he created after 1305 in the Arena Chapel of Padua. The relation he's created between the painted frames to the painted figures gives an invitation for analysis.Additionally, he used a much smaller space than other contemporary artists, further emphasizing the importance of the bodies in the artwork. Giotto did away with many aspects of Byzantine art that would flatten the painting.  Within Cimabue's Santa Trinita Maestà, there is the use of gold tracing to delineate the folds of the fabric.  In contrast to this, Giotto's fabric folds are more realistic, and instead of lines he used light, shadow, and color to create the appearance of fabric.  Contours of the body underneath these fabric folds are also visible, specifically in the Virgin's knees and also around her breasts.Giotto used a value scale, a distinct range of light and dark, to create a sense of volume in his figures, giving them the slight smokiness that is usually characteristic of Leonardo da Vinci and later Renaissance artists. Unlike in other paintings by Giotto, the light source in Ognissanti Madonna is located on the right side of the piece as opposed to the left. The meaning behind this is not known for sure, although a few logical reasons for this could be the Ognissanti Madonna's placement within the church or Giotto's use of exaggeration with lighting.

Prompt: オンニサンティの聖母に関して、どのように技術が議論されていますか？英語で出力して下さい。

Cimabue
Giotto
Giotto
Leonardo da Vinci
Maestà
Santa Trinita Maestà


subsection

オンニサンティの聖母

Beckett, Sister Wendy and Patricia Wright.  Sister Wendy's 1000 Masterpieces: Sister Wendy Beckett's Selection of the Greatest Paintings in Western Art.  New York: Dorling Kindersley, 1999.  Print. Greenspun, Joanne, ed.  History of Art.  Abrams: New York, 1997. Print.Miller, Julia I. and urie Taylor-Mitchell. From Giotto to Botticelli: The Artistic Patronage of the Humiliati in Florence. University Park, PA, 2015. Turner, Jane, ed.  The Encyclopedia of Italian Renaissance and Mannerist Art, Vol. 1.  London: Macmillan Reference, 2000.  Print. Zucker, Mark J. “FIGURE AND FRAME IN THE PAINTINGS OF GIOTTO.” Source: Notes in the History of Art, vol. 1, no. 4, 1982, pp. 1–5. JSTOR, . Accessed 21 Feb. 2024.

Prompt: オンニサンティの聖母の文脈で、情報源と技術を説明してください。英語で出力して下さい。

Florence Florence Giotto Giotto Humiliati


subsection

オンニサンティの聖母

Beckett, Sister Wendy and Patricia Wright.  Sister Wendy's 1000 Masterpieces: Sister Wendy Beckett's Selection of the Greatest Paintings in Western Art.  New York: Dorling Kindersley, 1999.  Print. Greenspun, Joanne, ed.  History of Art.  Abrams: New York, 1997. Print.Miller, Julia I. and urie Taylor-Mitchell. From Giotto to Botticelli: The Artistic Patronage of the Humiliati in Florence. University Park, PA, 2015. Turner, Jane, ed.  The Encyclopedia of Italian Renaissance and Mannerist Art, Vol. 1.  London: Macmillan Reference, 2000.  Print. Zucker, Mark J. “FIGURE AND FRAME IN THE PAINTINGS OF GIOTTO.” Source: Notes in the History of Art, vol. 1, no. 4, 1982, pp. 1–5. JSTOR, . Accessed 21 Feb. 2024.

Prompt: オンニサンティの聖母の技術に関する情報源を説明してください。英語で出力して下さい。

Florence Florence Giotto Giotto Humiliati


subsection

オンニサンティの聖母

Beckett, Sister Wendy and Patricia Wright.  Sister Wendy's 1000 Masterpieces: Sister Wendy Beckett's Selection of the Greatest Paintings in Western Art.  New York: Dorling Kindersley, 1999.  Print. Greenspun, Joanne, ed.  History of Art.  Abrams: New York, 1997. Print.Miller, Julia I. and urie Taylor-Mitchell. From Giotto to Botticelli: The Artistic Patronage of the Humiliati in Florence. University Park, PA, 2015. Turner, Jane, ed.  The Encyclopedia of Italian Renaissance and Mannerist Art, Vol. 1.  London: Macmillan Reference, 2000.  Print. Zucker, Mark J. “FIGURE AND FRAME IN THE PAINTINGS OF GIOTTO.” Source: Notes in the History of Art, vol. 1, no. 4, 1982, pp. 1–5. JSTOR, . Accessed 21 Feb. 2024.

Prompt: オンニサンティの聖母では、どのように技術の情報源が説明されていますか？英語で出力して下さい。

Florence Florence Giotto Giotto Humiliati


subsection

オンニサンティの聖母

Beckett, Sister Wendy and Patricia Wright.  Sister Wendy's 1000 Masterpieces: Sister Wendy Beckett's Selection of the Greatest Paintings in Western Art.  New York: Dorling Kindersley, 1999.  Print. Greenspun, Joanne, ed.  History of Art.  Abrams: New York, 1997. Print.Miller, Julia I. and urie Taylor-Mitchell. From Giotto to Botticelli: The Artistic Patronage of the Humiliati in Florence. University Park, PA, 2015. Turner, Jane, ed.  The Encyclopedia of Italian Renaissance and Mannerist Art, Vol. 1.  London: Macmillan Reference, 2000.  Print. Zucker, Mark J. “FIGURE AND FRAME IN THE PAINTINGS OF GIOTTO.” Source: Notes in the History of Art, vol. 1, no. 4, 1982, pp. 1–5. JSTOR, . Accessed 21 Feb. 2024.

Prompt: オンニサンティの聖母の技術における情報源の特徴を説明してください。英語で出力して下さい。

Florence Florence Giotto Giotto Humiliati


section

インディアンの寡婦

/1784 medium=Oil on canvas height_metric=101.6 width_metric=127 height_imperial= width_imperial = metric_unit=cm imperial_unit=in city= Derby museum=Derby Museum and Art Gallery}}Indian Widow is a painting by Joseph Wright of Derby, completed in late 1783 or early 1784 and first shown in his solo exhibition in London in 1785. The painting is since 1961 in the collection of Derby Museum and Art Gallery.

Prompt: インディアンの寡婦に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Derby
Derby Museum and Art Gallery
Joseph Wright of Derby


section

インディアンの寡婦

/1784 medium=Oil on canvas height_metric=101.6 width_metric=127 height_imperial= width_imperial = metric_unit=cm imperial_unit=in city= Derby museum=Derby Museum and Art Gallery}}Indian Widow is a painting by Joseph Wright of Derby, completed in late 1783 or early 1784 and first shown in his solo exhibition in London in 1785. The painting is since 1961 in the collection of Derby Museum and Art Gallery.

Prompt: インディアンの寡婦の抽象を説明してください。英語で出力して下さい。

Derby
Derby Museum and Art Gallery
Joseph Wright of Derby


section

インディアンの寡婦

/1784 medium=Oil on canvas height_metric=101.6 width_metric=127 height_imperial= width_imperial = metric_unit=cm imperial_unit=in city= Derby museum=Derby Museum and Art Gallery}}Indian Widow is a painting by Joseph Wright of Derby, completed in late 1783 or early 1784 and first shown in his solo exhibition in London in 1785. The painting is since 1961 in the collection of Derby Museum and Art Gallery.

Prompt: インディアンの寡婦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。

Derby
Derby Museum and Art Gallery
Joseph Wright of Derby


section

インディアンの寡婦

/1784 medium=Oil on canvas height_metric=101.6 width_metric=127 height_imperial= width_imperial = metric_unit=cm imperial_unit=in city= Derby museum=Derby Museum and Art Gallery}}Indian Widow is a painting by Joseph Wright of Derby, completed in late 1783 or early 1784 and first shown in his solo exhibition in London in 1785. The painting is since 1961 in the collection of Derby Museum and Art Gallery.

Prompt: インディアンの寡婦に関して、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。

Derby
Derby Museum and Art Gallery
Joseph Wright of Derby


section

インディアンの寡婦

Indian Widow was a title used by the painter, but a longer and more descriptive title also exists, The Widow of an Indian Chief Watching the Arms of Her Deceased Husband. According to Benedict Nicolson, in clothing the figure of the widow, Wright "has fallen back on those well-worn neo-classic draperies which served for any distressed female". Nicolson finds that other details, however, are more authentic: "the form of her head-band, the treatment of the feathers, the quilled cords and knife-sheath, and the buffalo-robe painted on the skin side show knowledge of Indian technology from at least as far west as the upper Great kes: this proves that Wright used authentic props". The concept of the Noble Savage, applied to Native Americans, was all the more popular in Britain in the 1780s when Americans of European origin could be regarded as rebels.In contrast with Wright's paintings of candlelit scenes, here the main figure is seen silhouetted against sunlight and a stormy sky.

Prompt: インディアンの寡婦に焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

インディアンの寡婦

Indian Widow was a title used by the painter, but a longer and more descriptive title also exists, The Widow of an Indian Chief Watching the Arms of Her Deceased Husband. According to Benedict Nicolson, in clothing the figure of the widow, Wright "has fallen back on those well-worn neo-classic draperies which served for any distressed female". Nicolson finds that other details, however, are more authentic: "the form of her head-band, the treatment of the feathers, the quilled cords and knife-sheath, and the buffalo-robe painted on the skin side show knowledge of Indian technology from at least as far west as the upper Great kes: this proves that Wright used authentic props". The concept of the Noble Savage, applied to Native Americans, was all the more popular in Britain in the 1780s when Americans of European origin could be regarded as rebels.In contrast with Wright's paintings of candlelit scenes, here the main figure is seen silhouetted against sunlight and a stormy sky.

Prompt: インディアンの寡婦の説明を説明してください。英語で出力して下さい。


section

インディアンの寡婦

Indian Widow was a title used by the painter, but a longer and more descriptive title also exists, The Widow of an Indian Chief Watching the Arms of Her Deceased Husband. According to Benedict Nicolson, in clothing the figure of the widow, Wright "has fallen back on those well-worn neo-classic draperies which served for any distressed female". Nicolson finds that other details, however, are more authentic: "the form of her head-band, the treatment of the feathers, the quilled cords and knife-sheath, and the buffalo-robe painted on the skin side show knowledge of Indian technology from at least as far west as the upper Great kes: this proves that Wright used authentic props". The concept of the Noble Savage, applied to Native Americans, was all the more popular in Britain in the 1780s when Americans of European origin could be regarded as rebels.In contrast with Wright's paintings of candlelit scenes, here the main figure is seen silhouetted against sunlight and a stormy sky.

Prompt: インディアンの寡婦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

インディアンの寡婦

Indian Widow was a title used by the painter, but a longer and more descriptive title also exists, The Widow of an Indian Chief Watching the Arms of Her Deceased Husband. According to Benedict Nicolson, in clothing the figure of the widow, Wright "has fallen back on those well-worn neo-classic draperies which served for any distressed female". Nicolson finds that other details, however, are more authentic: "the form of her head-band, the treatment of the feathers, the quilled cords and knife-sheath, and the buffalo-robe painted on the skin side show knowledge of Indian technology from at least as far west as the upper Great kes: this proves that Wright used authentic props". The concept of the Noble Savage, applied to Native Americans, was all the more popular in Britain in the 1780s when Americans of European origin could be regarded as rebels.In contrast with Wright's paintings of candlelit scenes, here the main figure is seen silhouetted against sunlight and a stormy sky.

Prompt: インディアンの寡婦に関して、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

インディアンの寡婦

An engraving of this painting was made by another Derby artist, John Raphael Smith, in 1785. Wright painted a similar painting based on female fortitude entitled The dy in Milton's Comus and a very near copy of the Indian Widow. The dy in Milton's Comus is in the Walker Gallery in Liverpool whilst the near copy was lost in a fire. This painting and The dy in Milton's Comus were displayed at Wright's exhibition in 1785. It is thought that this might be the first "solo show" in England. Wright laid out his plans for the exhibition in the same year that he refused to become a Royal Academician.

Prompt: インディアンの寡婦に焦点を当てて、その類似の仕事を説明してください。英語で出力して下さい。


section

インディアンの寡婦

An engraving of this painting was made by another Derby artist, John Raphael Smith, in 1785. Wright painted a similar painting based on female fortitude entitled The dy in Milton's Comus and a very near copy of the Indian Widow. The dy in Milton's Comus is in the Walker Gallery in Liverpool whilst the near copy was lost in a fire. This painting and The dy in Milton's Comus were displayed at Wright's exhibition in 1785. It is thought that this might be the first "solo show" in England. Wright laid out his plans for the exhibition in the same year that he refused to become a Royal Academician.

Prompt: インディアンの寡婦の類似の仕事を説明してください。英語で出力して下さい。


section

インディアンの寡婦

An engraving of this painting was made by another Derby artist, John Raphael Smith, in 1785. Wright painted a similar painting based on female fortitude entitled The dy in Milton's Comus and a very near copy of the Indian Widow. The dy in Milton's Comus is in the Walker Gallery in Liverpool whilst the near copy was lost in a fire. This painting and The dy in Milton's Comus were displayed at Wright's exhibition in 1785. It is thought that this might be the first "solo show" in England. Wright laid out his plans for the exhibition in the same year that he refused to become a Royal Academician.

Prompt: インディアンの寡婦はどのように類似の仕事を説明していますか？英語で出力して下さい。


section

インディアンの寡婦

An engraving of this painting was made by another Derby artist, John Raphael Smith, in 1785. Wright painted a similar painting based on female fortitude entitled The dy in Milton's Comus and a very near copy of the Indian Widow. The dy in Milton's Comus is in the Walker Gallery in Liverpool whilst the near copy was lost in a fire. This painting and The dy in Milton's Comus were displayed at Wright's exhibition in 1785. It is thought that this might be the first "solo show" in England. Wright laid out his plans for the exhibition in the same year that he refused to become a Royal Academician.

Prompt: インディアンの寡婦に関して、どのように類似の仕事が議論されていますか？英語で出力して下さい。


section

タンギー爺さん

F363JH1351 height_metric   =65.0 width_metric    =51.0 height_imperial =25.6 width_imperial  =20.0 metric_unit     = cm imperial_unit   = in city            = Paris  museum          = Musée Rodin }}Portrait of Père Tanguy, painted by Vincent van Gogh in 1887, is one of his three paintings of Julien Tanguy. The three works demonstrate a progression in van Gogh's artistic style after his arrival in Paris. The first is somber, and formed from a simple composition. The second introduces van Gogh's Japanese prints. The last and most advanced in style, skill and color integrates Japanese, Impressionist, and other influences on the Parisian artist community. This painting conveys a sense of serenity that van Gogh seeks for himself. This last painting of Tanguy is in the Musée Rodin, Paris.

Prompt: タンギー爺さんに焦点を当てて、その抽象を説明してください。英語で出力して下さい。


section

タンギー爺さん

F363JH1351 height_metric   =65.0 width_metric    =51.0 height_imperial =25.6 width_imperial  =20.0 metric_unit     = cm imperial_unit   = in city            = Paris  museum          = Musée Rodin }}Portrait of Père Tanguy, painted by Vincent van Gogh in 1887, is one of his three paintings of Julien Tanguy. The three works demonstrate a progression in van Gogh's artistic style after his arrival in Paris. The first is somber, and formed from a simple composition. The second introduces van Gogh's Japanese prints. The last and most advanced in style, skill and color integrates Japanese, Impressionist, and other influences on the Parisian artist community. This painting conveys a sense of serenity that van Gogh seeks for himself. This last painting of Tanguy is in the Musée Rodin, Paris.

Prompt: タンギー爺さんの抽象を説明してください。英語で出力して下さい。


section

タンギー爺さん

F363JH1351 height_metric   =65.0 width_metric    =51.0 height_imperial =25.6 width_imperial  =20.0 metric_unit     = cm imperial_unit   = in city            = Paris  museum          = Musée Rodin }}Portrait of Père Tanguy, painted by Vincent van Gogh in 1887, is one of his three paintings of Julien Tanguy. The three works demonstrate a progression in van Gogh's artistic style after his arrival in Paris. The first is somber, and formed from a simple composition. The second introduces van Gogh's Japanese prints. The last and most advanced in style, skill and color integrates Japanese, Impressionist, and other influences on the Parisian artist community. This painting conveys a sense of serenity that van Gogh seeks for himself. This last painting of Tanguy is in the Musée Rodin, Paris.

Prompt: タンギー爺さん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

タンギー爺さん

F363JH1351 height_metric   =65.0 width_metric    =51.0 height_imperial =25.6 width_imperial  =20.0 metric_unit     = cm imperial_unit   = in city            = Paris  museum          = Musée Rodin }}Portrait of Père Tanguy, painted by Vincent van Gogh in 1887, is one of his three paintings of Julien Tanguy. The three works demonstrate a progression in van Gogh's artistic style after his arrival in Paris. The first is somber, and formed from a simple composition. The second introduces van Gogh's Japanese prints. The last and most advanced in style, skill and color integrates Japanese, Impressionist, and other influences on the Parisian artist community. This painting conveys a sense of serenity that van Gogh seeks for himself. This last painting of Tanguy is in the Musée Rodin, Paris.

Prompt: タンギー爺さんに関して、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

タンギー爺さん

In 1886 van Gogh left the Netherlands never to return. He moved to Paris to live with his brother Theo, a Parisian art dealer. Vincent entered Paris as a shy, somber man. While his personality would never change, he emerged artistically into what one critic described as a "singing bird".

Prompt: タンギー爺さんに焦点を当てて、そのパリのゴッホを説明してください。英語で出力して下さい。


section

タンギー爺さん

In 1886 van Gogh left the Netherlands never to return. He moved to Paris to live with his brother Theo, a Parisian art dealer. Vincent entered Paris as a shy, somber man. While his personality would never change, he emerged artistically into what one critic described as a "singing bird".

Prompt: タンギー爺さんのパリのゴッホを説明してください。英語で出力して下さい。


section

タンギー爺さん

In 1886 van Gogh left the Netherlands never to return. He moved to Paris to live with his brother Theo, a Parisian art dealer. Vincent entered Paris as a shy, somber man. While his personality would never change, he emerged artistically into what one critic described as a "singing bird".

Prompt: タンギー爺さんはどのようにパリのゴッホを説明していますか？英語で出力して下さい。


section

タンギー爺さん

In 1886 van Gogh left the Netherlands never to return. He moved to Paris to live with his brother Theo, a Parisian art dealer. Vincent entered Paris as a shy, somber man. While his personality would never change, he emerged artistically into what one critic described as a "singing bird".

Prompt: タンギー爺さんに関して、どのようにパリのゴッホが議論されていますか？英語で出力して下さい。


section

タンギー爺さん

The brightly colored painting and confident subject represent a shift in Vincent's attitude. In an effort to capture serenity in his painting, Van Gogh paints Tanguy with a calm, contemplative nature. Historian of Symbolism Naomi Maurer describes him as having the "iconic tranquility of Buddha." The Portrait of Père Tanguy, previously in Rodin's personal collection, is in the permanent collection at Musée Rodin in Paris.

Prompt: タンギー爺さんに焦点を当てて、その絵画を説明してください。英語で出力して下さい。


section

タンギー爺さん

The brightly colored painting and confident subject represent a shift in Vincent's attitude. In an effort to capture serenity in his painting, Van Gogh paints Tanguy with a calm, contemplative nature. Historian of Symbolism Naomi Maurer describes him as having the "iconic tranquility of Buddha." The Portrait of Père Tanguy, previously in Rodin's personal collection, is in the permanent collection at Musée Rodin in Paris.

Prompt: タンギー爺さんの絵画を説明してください。英語で出力して下さい。


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タンギー爺さん

The brightly colored painting and confident subject represent a shift in Vincent's attitude. In an effort to capture serenity in his painting, Van Gogh paints Tanguy with a calm, contemplative nature. Historian of Symbolism Naomi Maurer describes him as having the "iconic tranquility of Buddha." The Portrait of Père Tanguy, previously in Rodin's personal collection, is in the permanent collection at Musée Rodin in Paris.

Prompt: タンギー爺さんはどのように絵画を説明していますか？英語で出力して下さい。


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タンギー爺さん

The brightly colored painting and confident subject represent a shift in Vincent's attitude. In an effort to capture serenity in his painting, Van Gogh paints Tanguy with a calm, contemplative nature. Historian of Symbolism Naomi Maurer describes him as having the "iconic tranquility of Buddha." The Portrait of Père Tanguy, previously in Rodin's personal collection, is in the permanent collection at Musée Rodin in Paris.

Prompt: タンギー爺さんに関して、どのように絵画が議論されていますか？英語で出力して下さい。


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タンギー爺さん

Julien François Tanguy  was a paint grinder who sold art supplies and was also an art dealer, His jovial demeanor and enthusiasm for artistry and artists made his shop one of the most favored art supply shops in Paris, and he was nicknamed Père  Tanguy.Octave Mirbeau wrote a notice about him in L'Écho de Paris on 13 February 1894.

Prompt: タンギー爺さんに焦点を当てて、そのジュリアン・タンギーを説明してください。英語で出力して下さい。


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タンギー爺さん

Julien François Tanguy  was a paint grinder who sold art supplies and was also an art dealer, His jovial demeanor and enthusiasm for artistry and artists made his shop one of the most favored art supply shops in Paris, and he was nicknamed Père  Tanguy.Octave Mirbeau wrote a notice about him in L'Écho de Paris on 13 February 1894.

Prompt: タンギー爺さんのジュリアン・タンギーを説明してください。英語で出力して下さい。


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タンギー爺さん

Julien François Tanguy  was a paint grinder who sold art supplies and was also an art dealer, His jovial demeanor and enthusiasm for artistry and artists made his shop one of the most favored art supply shops in Paris, and he was nicknamed Père  Tanguy.Octave Mirbeau wrote a notice about him in L'Écho de Paris on 13 February 1894.

Prompt: タンギー爺さんはどのようにジュリアン・タンギーを説明していますか？英語で出力して下さい。


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タンギー爺さん

Julien François Tanguy  was a paint grinder who sold art supplies and was also an art dealer, His jovial demeanor and enthusiasm for artistry and artists made his shop one of the most favored art supply shops in Paris, and he was nicknamed Père  Tanguy.Octave Mirbeau wrote a notice about him in L'Écho de Paris on 13 February 1894.

Prompt: タンギー爺さんに関して、どのようにジュリアン・タンギーが議論されていますか？英語で出力して下さい。


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タンギー爺さん

Van Gogh painted three portraits of Julien  Tanguy.In winter 1886/87 van Gogh painted his first portrait of Tanguy. It is mostly brown, with a touch of red on his lips and a green on his apron. Writer Victoria Finlay describes him as looking more like a workman than an art dealer.In 1887, van Gogh began to experiment with brighter colors, such as red against green and orange against blue.  which they sold to Greek shipping tycoon Stavros Niarchos.The second, more advanced painting with Japanese prints is held in the Musée Rodin in Paris.

Prompt: タンギー爺さんに焦点を当てて、そのジュリアン・タンギーの三つの肖像画を説明してください。英語で出力して下さい。

Musée Rodin
Paris
Stavros Niarchos
Victoria Finlay


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タンギー爺さん

Van Gogh painted three portraits of Julien  Tanguy.In winter 1886/87 van Gogh painted his first portrait of Tanguy. It is mostly brown, with a touch of red on his lips and a green on his apron. Writer Victoria Finlay describes him as looking more like a workman than an art dealer.In 1887, van Gogh began to experiment with brighter colors, such as red against green and orange against blue.  which they sold to Greek shipping tycoon Stavros Niarchos.The second, more advanced painting with Japanese prints is held in the Musée Rodin in Paris.

Prompt: タンギー爺さんのジュリアン・タンギーの三つの肖像画を説明してください。英語で出力して下さい。

Musée Rodin
Paris
Stavros Niarchos
Victoria Finlay


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タンギー爺さん

Van Gogh painted three portraits of Julien  Tanguy.In winter 1886/87 van Gogh painted his first portrait of Tanguy. It is mostly brown, with a touch of red on his lips and a green on his apron. Writer Victoria Finlay describes him as looking more like a workman than an art dealer.In 1887, van Gogh began to experiment with brighter colors, such as red against green and orange against blue.  which they sold to Greek shipping tycoon Stavros Niarchos.The second, more advanced painting with Japanese prints is held in the Musée Rodin in Paris.

Prompt: タンギー爺さんはどのようにジュリアン・タンギーの三つの肖像画を説明していますか？英語で出力して下さい。

Musée Rodin
Paris
Stavros Niarchos
Victoria Finlay


section

タンギー爺さん

Van Gogh painted three portraits of Julien  Tanguy.In winter 1886/87 van Gogh painted his first portrait of Tanguy. It is mostly brown, with a touch of red on his lips and a green on his apron. Writer Victoria Finlay describes him as looking more like a workman than an art dealer.In 1887, van Gogh began to experiment with brighter colors, such as red against green and orange against blue.  which they sold to Greek shipping tycoon Stavros Niarchos.The second, more advanced painting with Japanese prints is held in the Musée Rodin in Paris.

Prompt: タンギー爺さんに関して、どのようにジュリアン・タンギーの三つの肖像画が議論されていますか？英語で出力して下さい。

Musée Rodin
Paris
Stavros Niarchos
Victoria Finlay


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カフェ・タンブランの女

F370JH1208 height_metric=55.5 width_metric=46.5 metric_unit=cm imperial_unit=in city=Amsterdam, Netherlands museum=Van Gogh Museum}}upright=1.35Agostina Segatori Sitting in the Café du Tambourin was painted by Vincent van Gogh in 1887.  Agostina Segatori owned the Café du Tambourin that Van Gogh knew intimately.  It was a gathering spot for Parisian artists, a place where their work was exhibited. Van Gogh, unable to pay in cash for his meals, exchanged paintings for his fare.  The paintings then adorned the restaurant.  He held a special exhibit of his Japanese prints in the café as well.  His connection with Agostina and the cafe came to a sad end when she went bankrupt and van Gogh's paintings were confiscated by creditors.  This painting, however, demonstrates an artistic discovery that culminated in his unique, creative style not quite on the brink of being understood and revered.

Prompt: カフェ・タンブランの女に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Agostina Segatori
Amsterdam
Café du Tambourin
Netherlands
Van Gogh Museum
Vincent van Gogh


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カフェ・タンブランの女

F370JH1208 height_metric=55.5 width_metric=46.5 metric_unit=cm imperial_unit=in city=Amsterdam, Netherlands museum=Van Gogh Museum}}upright=1.35Agostina Segatori Sitting in the Café du Tambourin was painted by Vincent van Gogh in 1887.  Agostina Segatori owned the Café du Tambourin that Van Gogh knew intimately.  It was a gathering spot for Parisian artists, a place where their work was exhibited. Van Gogh, unable to pay in cash for his meals, exchanged paintings for his fare.  The paintings then adorned the restaurant.  He held a special exhibit of his Japanese prints in the café as well.  His connection with Agostina and the cafe came to a sad end when she went bankrupt and van Gogh's paintings were confiscated by creditors.  This painting, however, demonstrates an artistic discovery that culminated in his unique, creative style not quite on the brink of being understood and revered.

Prompt: カフェ・タンブランの女の抽象を説明してください。英語で出力して下さい。

Agostina Segatori
Amsterdam
Café du Tambourin
Netherlands
Van Gogh Museum
Vincent van Gogh


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カフェ・タンブランの女

F370JH1208 height_metric=55.5 width_metric=46.5 metric_unit=cm imperial_unit=in city=Amsterdam, Netherlands museum=Van Gogh Museum}}upright=1.35Agostina Segatori Sitting in the Café du Tambourin was painted by Vincent van Gogh in 1887.  Agostina Segatori owned the Café du Tambourin that Van Gogh knew intimately.  It was a gathering spot for Parisian artists, a place where their work was exhibited. Van Gogh, unable to pay in cash for his meals, exchanged paintings for his fare.  The paintings then adorned the restaurant.  He held a special exhibit of his Japanese prints in the café as well.  His connection with Agostina and the cafe came to a sad end when she went bankrupt and van Gogh's paintings were confiscated by creditors.  This painting, however, demonstrates an artistic discovery that culminated in his unique, creative style not quite on the brink of being understood and revered.

Prompt: カフェ・タンブランの女はどのように抽象を説明していますか？英語で出力して下さい。

Agostina Segatori
Amsterdam
Café du Tambourin
Netherlands
Van Gogh Museum
Vincent van Gogh


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カフェ・タンブランの女

F370JH1208 height_metric=55.5 width_metric=46.5 metric_unit=cm imperial_unit=in city=Amsterdam, Netherlands museum=Van Gogh Museum}}upright=1.35Agostina Segatori Sitting in the Café du Tambourin was painted by Vincent van Gogh in 1887.  Agostina Segatori owned the Café du Tambourin that Van Gogh knew intimately.  It was a gathering spot for Parisian artists, a place where their work was exhibited. Van Gogh, unable to pay in cash for his meals, exchanged paintings for his fare.  The paintings then adorned the restaurant.  He held a special exhibit of his Japanese prints in the café as well.  His connection with Agostina and the cafe came to a sad end when she went bankrupt and van Gogh's paintings were confiscated by creditors.  This painting, however, demonstrates an artistic discovery that culminated in his unique, creative style not quite on the brink of being understood and revered.

Prompt: カフェ・タンブランの女に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Agostina Segatori
Amsterdam
Café du Tambourin
Netherlands
Van Gogh Museum
Vincent van Gogh


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カフェ・タンブランの女

Agostina Segatori Sitting in the Café du Tambourin

In 1886 van Gogh left the Netherlands, never to return, for Paris and the guidance of his brother Theo.  He entered Paris as a shy, somber man and while his personality would never change, he emerged artistically into what one critic described as a "singing bird". While van Gogh had been influenced by great Dutch masters, coming to Paris meant that he was influenced by Impressionists, Symbolists, Pointillists, and Japanese prints.  His circle of friends included Camille Pissarro, Henri Toulouse-utrec, Paul Gauguin, Émile Bernard and others.  The works of Japanese artists Hiroshige and Hokusai greatly influenced van Gogh, both for the beautiful subject matter and the style of flat patterns of colors without shadow.  Van Gogh explored the various influences and molded them into a style that was uniquely his own.  In the years 1886 to 1888, van Gogh emerged as a sophisticated, thoughtful and provoking artist. This painting demonstrates his journey of creativity in that period.

Prompt: カフェ・タンブランの女に焦点を当てて、そのパリのゴッホの影響を説明してください。英語で出力して下さい。

Camille Pissarro
Hiroshige
Hokusai
Netherlands
Paul Gauguin


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カフェ・タンブランの女

Agostina Segatori Sitting in the Café du Tambourin

In 1886 van Gogh left the Netherlands, never to return, for Paris and the guidance of his brother Theo.  He entered Paris as a shy, somber man and while his personality would never change, he emerged artistically into what one critic described as a "singing bird". While van Gogh had been influenced by great Dutch masters, coming to Paris meant that he was influenced by Impressionists, Symbolists, Pointillists, and Japanese prints.  His circle of friends included Camille Pissarro, Henri Toulouse-utrec, Paul Gauguin, Émile Bernard and others.  The works of Japanese artists Hiroshige and Hokusai greatly influenced van Gogh, both for the beautiful subject matter and the style of flat patterns of colors without shadow.  Van Gogh explored the various influences and molded them into a style that was uniquely his own.  In the years 1886 to 1888, van Gogh emerged as a sophisticated, thoughtful and provoking artist. This painting demonstrates his journey of creativity in that period.

Prompt: カフェ・タンブランの女のパリのゴッホの影響を説明してください。英語で出力して下さい。

Camille Pissarro
Hiroshige
Hokusai
Netherlands
Paul Gauguin


section

カフェ・タンブランの女

Agostina Segatori Sitting in the Café du Tambourin

In 1886 van Gogh left the Netherlands, never to return, for Paris and the guidance of his brother Theo.  He entered Paris as a shy, somber man and while his personality would never change, he emerged artistically into what one critic described as a "singing bird". While van Gogh had been influenced by great Dutch masters, coming to Paris meant that he was influenced by Impressionists, Symbolists, Pointillists, and Japanese prints.  His circle of friends included Camille Pissarro, Henri Toulouse-utrec, Paul Gauguin, Émile Bernard and others.  The works of Japanese artists Hiroshige and Hokusai greatly influenced van Gogh, both for the beautiful subject matter and the style of flat patterns of colors without shadow.  Van Gogh explored the various influences and molded them into a style that was uniquely his own.  In the years 1886 to 1888, van Gogh emerged as a sophisticated, thoughtful and provoking artist. This painting demonstrates his journey of creativity in that period.

Prompt: カフェ・タンブランの女はどのようにパリのゴッホの影響を説明していますか？英語で出力して下さい。

Camille Pissarro
Hiroshige
Hokusai
Netherlands
Paul Gauguin