subsection

エドモニア・ルイス

After college, Lewis moved to Boston in early 1864, where she began to pursue her career as a sculptor. She repeatedly told a story about encountering in Boston a statue of Benjamin Franklin, not knowing what it was or what to call it, but concluding she could make a "stone man" herself.The Keeps wrote a letter of introduction on Lewis' behalf to abolitionist William Lloyd Garrison in Boston, as did Henry Highland Garnet. Finding an instructor, however, was not easy for her. Three male sculptors refused to instruct her before she was introduced to the moderately successful sculptor, Edward Augustus Brackett , who specialized in marble portrait busts. His clients were some of the most important abolitionists of the day, including Henry Wadsworth Longfellow, Wm. Lloyd Garrison, Charles Sumner, and John Brown. Anne Whitney, a fellow sculptor and friend of Lewis', wrote in an 1864 letter to her sister that Lewis's relationship with her instructor did not end amicably, but did not disclose the reason.Lewis was inspired by the lives of abolitionists and Civil War heroes. Her subjects in 1863 and 1864 included some of the most famous abolitionists of her day: John Brown and Colonel Robert Gould Shaw. Lewis then made plaster-cast reproductions of the bust and sold one hundred of these copies at 15 dollars apiece. It was her most famous work to date and the money she earned from the busts allowed her to move to Rome. Anna Quincy Waterston, a poet, then wrote a poem about Lewis and Shaw.From 1864 to 1871, Lewis was written about or interviewed by Lydia Maria Child, Elizabeth Peabody, Anna Quincy Waterston, and ura Curtis Bullard, all important women in Boston and New York abolitionist circles. Lewis was aware of her reception in Boston. She was not opposed to the coverage she received in the abolitionist press, and she was not known to turn down financial assistance, but she could not tolerate false praise. She knew that some did not really appreciate her art, but saw her as an opportunity to demonstrate their support for human rights.Early works that proved highly popular included medallion portraits of the abolitionists John Brown, described as "her hero",

Prompt: エドモニア・ルイスでは、どのように私生活のボストンが説明されていますか？英語で出力して下さい。

Anne Whitney
Boston
Charles Sumner
Edward Augustus Brackett
Elizabeth Peabody
Henry Highland Garnet
Henry Wadsworth Longfellow
Lydia Maria Child
Robert Gould Shaw
William Lloyd Garrison
William Lloyd Garrison


subsection

エドモニア・ルイス

After college, Lewis moved to Boston in early 1864, where she began to pursue her career as a sculptor. She repeatedly told a story about encountering in Boston a statue of Benjamin Franklin, not knowing what it was or what to call it, but concluding she could make a "stone man" herself.The Keeps wrote a letter of introduction on Lewis' behalf to abolitionist William Lloyd Garrison in Boston, as did Henry Highland Garnet. Finding an instructor, however, was not easy for her. Three male sculptors refused to instruct her before she was introduced to the moderately successful sculptor, Edward Augustus Brackett , who specialized in marble portrait busts. His clients were some of the most important abolitionists of the day, including Henry Wadsworth Longfellow, Wm. Lloyd Garrison, Charles Sumner, and John Brown. Anne Whitney, a fellow sculptor and friend of Lewis', wrote in an 1864 letter to her sister that Lewis's relationship with her instructor did not end amicably, but did not disclose the reason.Lewis was inspired by the lives of abolitionists and Civil War heroes. Her subjects in 1863 and 1864 included some of the most famous abolitionists of her day: John Brown and Colonel Robert Gould Shaw. Lewis then made plaster-cast reproductions of the bust and sold one hundred of these copies at 15 dollars apiece. It was her most famous work to date and the money she earned from the busts allowed her to move to Rome. Anna Quincy Waterston, a poet, then wrote a poem about Lewis and Shaw.From 1864 to 1871, Lewis was written about or interviewed by Lydia Maria Child, Elizabeth Peabody, Anna Quincy Waterston, and ura Curtis Bullard, all important women in Boston and New York abolitionist circles. Lewis was aware of her reception in Boston. She was not opposed to the coverage she received in the abolitionist press, and she was not known to turn down financial assistance, but she could not tolerate false praise. She knew that some did not really appreciate her art, but saw her as an opportunity to demonstrate their support for human rights.Early works that proved highly popular included medallion portraits of the abolitionists John Brown, described as "her hero",

Prompt: エドモニア・ルイスの私生活におけるボストンの特徴を説明してください。英語で出力して下さい。

Anne Whitney
Boston
Charles Sumner
Edward Augustus Brackett
Elizabeth Peabody
Henry Highland Garnet
Henry Wadsworth Longfellow
Lydia Maria Child
Robert Gould Shaw
William Lloyd Garrison
William Lloyd Garrison


subsection

エドモニア・ルイス

left}}}}Lewis was unique in the way she approached sculpting abroad. She insisted on enlarging her clay and wax models in marble herself, rather than hire native Italian sculptors to do it for her – the common practice at the time. Male sculptors were largely skeptical of the talent of female sculptors, and often accused them of not doing their own work. Harriet Hosmer, a fellow sculptor and expatriate, also did this. Lewis also was known to make sculptures before receiving commissions for them, or sent unsolicited works to Boston patrons requesting that they raise funds for materials and shipping. Lewis had many major exhibitions during her rise to fame, including one in Chicago, Illinois, in 1870, and in Rome in 1871.

Prompt: エドモニア・ルイスの文脈で、ローマと私生活を説明してください。英語で出力して下さい。


subsection

エドモニア・ルイス

left}}}}Lewis was unique in the way she approached sculpting abroad. She insisted on enlarging her clay and wax models in marble herself, rather than hire native Italian sculptors to do it for her – the common practice at the time. Male sculptors were largely skeptical of the talent of female sculptors, and often accused them of not doing their own work. Harriet Hosmer, a fellow sculptor and expatriate, also did this. Lewis also was known to make sculptures before receiving commissions for them, or sent unsolicited works to Boston patrons requesting that they raise funds for materials and shipping. Lewis had many major exhibitions during her rise to fame, including one in Chicago, Illinois, in 1870, and in Rome in 1871.

Prompt: エドモニア・ルイスの私生活に関するローマを説明してください。英語で出力して下さい。


subsection

エドモニア・ルイス

left}}}}Lewis was unique in the way she approached sculpting abroad. She insisted on enlarging her clay and wax models in marble herself, rather than hire native Italian sculptors to do it for her – the common practice at the time. Male sculptors were largely skeptical of the talent of female sculptors, and often accused them of not doing their own work. Harriet Hosmer, a fellow sculptor and expatriate, also did this. Lewis also was known to make sculptures before receiving commissions for them, or sent unsolicited works to Boston patrons requesting that they raise funds for materials and shipping. Lewis had many major exhibitions during her rise to fame, including one in Chicago, Illinois, in 1870, and in Rome in 1871.

Prompt: エドモニア・ルイスでは、どのように私生活のローマが説明されていますか？英語で出力して下さい。


subsection

エドモニア・ルイス

left}}}}Lewis was unique in the way she approached sculpting abroad. She insisted on enlarging her clay and wax models in marble herself, rather than hire native Italian sculptors to do it for her – the common practice at the time. Male sculptors were largely skeptical of the talent of female sculptors, and often accused them of not doing their own work. Harriet Hosmer, a fellow sculptor and expatriate, also did this. Lewis also was known to make sculptures before receiving commissions for them, or sent unsolicited works to Boston patrons requesting that they raise funds for materials and shipping. Lewis had many major exhibitions during her rise to fame, including one in Chicago, Illinois, in 1870, and in Rome in 1871.

Prompt: エドモニア・ルイスの私生活におけるローマの特徴を説明してください。英語で出力して下さい。


subsection

エドモニア・ルイス

A major coup in her career was participating in the 1876 Centennial Exposition in Philadelphia. For this, she created a monumental 3,015-pound marble sculpture, The Death of Cleopatra, portraying the queen in the throes of death, which was her largest and most significant sculpture. This piece depicts the moment popularized by Shakespeare in Antony and Cleopatra, in which Cleopatra had allowed herself to be bitten by a poisonous asp following the loss of her crown.  Of the piece, J. S. Ingraham wrote that Cleopatra was "the most remarkable piece of sculpture in the American section" of the Exposition. Much of the viewing public was shocked by Lewis's frank portrayal of death, but the statue drew thousands of viewers nonetheless. Cleopatra was considered a woman of both sensuous beauty and demonic power, and her self-annihilation has been repeatedly portrayed in art, literature and cinema. In Death of Cleopatra, Edmonia Lewis added an innovative flair by portraying the Egyptian queen in a disheveled, inelegant manner, a departure from the refined, composed Victorian approach to representing death. Considering Lewis's interest in emancipation imagery as seen in her work Forever Free, it is not surprising that Lewis eliminated Cleopatra's usual companion figures of loyal slaves from her work.  Lewis's The Death of Cleopatra may have been a response to the culture of the Centennial Exposition, which celebrated one hundred years of the United States being built around the principles of liberty and freedom, a celebration of unity despite centuries of slavery, the recent Civil War, and the failing attempts and efforts of Reconstruction. To avoid any acknowledgment of black empowerment by the Centennial, Lewis's sculpture could not have directly addressed the subject of Emancipation.}}After being placed in storage, the statue was moved to the 1878 Chicago Interstate Exposition, where it remained unsold. Then the sculpture was acquired by a gambler by the name of "Blind John" Condon, who purchased it from a saloon on Clark Street to mark the grave of a racehorse named "Cleopatra".  The grave was in front of the grandstand of his Harlem race track in the Chicago suburb of Forest Park, where the sculpture remained for nearly a century until the land was bought by the U.S. Postal Service and the sculpture was moved to a construction storage yard in Cicero, Illinois. According to Gurney, Curator Emeritus at the Smithsonian American Art Museum, the sculpture was in a race track in Forest Park, Illinois, during World War II. Finally, the sculpture came under the purview of the Forest Park Historical Society, which donated it to Smithsonian American Art Museum in 1994. Chicago-based Andrezej Dajnowski, in conjunction with the Smithsonian, spent $30,000 to restore it to its near-original state. The repairs were extensive, including the nose, sandals, hands, chin, and extensive "sugaring"

Prompt: エドモニア・ルイスの文脈で、クレオパトラの死と私生活を説明してください。英語で出力して下さい。

Antony and Cleopatra
Centennial Exposition
Chicago
Cicero, Illinois
Death of Cleopatra
Forest Park, Illinois
Smithsonian American Art Museum
Smithsonian American Art Museum


subsection

エドモニア・ルイス

A major coup in her career was participating in the 1876 Centennial Exposition in Philadelphia. For this, she created a monumental 3,015-pound marble sculpture, The Death of Cleopatra, portraying the queen in the throes of death, which was her largest and most significant sculpture. This piece depicts the moment popularized by Shakespeare in Antony and Cleopatra, in which Cleopatra had allowed herself to be bitten by a poisonous asp following the loss of her crown.  Of the piece, J. S. Ingraham wrote that Cleopatra was "the most remarkable piece of sculpture in the American section" of the Exposition. Much of the viewing public was shocked by Lewis's frank portrayal of death, but the statue drew thousands of viewers nonetheless. Cleopatra was considered a woman of both sensuous beauty and demonic power, and her self-annihilation has been repeatedly portrayed in art, literature and cinema. In Death of Cleopatra, Edmonia Lewis added an innovative flair by portraying the Egyptian queen in a disheveled, inelegant manner, a departure from the refined, composed Victorian approach to representing death. Considering Lewis's interest in emancipation imagery as seen in her work Forever Free, it is not surprising that Lewis eliminated Cleopatra's usual companion figures of loyal slaves from her work.  Lewis's The Death of Cleopatra may have been a response to the culture of the Centennial Exposition, which celebrated one hundred years of the United States being built around the principles of liberty and freedom, a celebration of unity despite centuries of slavery, the recent Civil War, and the failing attempts and efforts of Reconstruction. To avoid any acknowledgment of black empowerment by the Centennial, Lewis's sculpture could not have directly addressed the subject of Emancipation.}}After being placed in storage, the statue was moved to the 1878 Chicago Interstate Exposition, where it remained unsold. Then the sculpture was acquired by a gambler by the name of "Blind John" Condon, who purchased it from a saloon on Clark Street to mark the grave of a racehorse named "Cleopatra".  The grave was in front of the grandstand of his Harlem race track in the Chicago suburb of Forest Park, where the sculpture remained for nearly a century until the land was bought by the U.S. Postal Service and the sculpture was moved to a construction storage yard in Cicero, Illinois. According to Gurney, Curator Emeritus at the Smithsonian American Art Museum, the sculpture was in a race track in Forest Park, Illinois, during World War II. Finally, the sculpture came under the purview of the Forest Park Historical Society, which donated it to Smithsonian American Art Museum in 1994. Chicago-based Andrezej Dajnowski, in conjunction with the Smithsonian, spent $30,000 to restore it to its near-original state. The repairs were extensive, including the nose, sandals, hands, chin, and extensive "sugaring"

Prompt: エドモニア・ルイスの私生活に関するクレオパトラの死を説明してください。英語で出力して下さい。

Antony and Cleopatra
Centennial Exposition
Chicago
Cicero, Illinois
Death of Cleopatra
Forest Park, Illinois
Smithsonian American Art Museum
Smithsonian American Art Museum


subsection

エドモニア・ルイス

A major coup in her career was participating in the 1876 Centennial Exposition in Philadelphia. For this, she created a monumental 3,015-pound marble sculpture, The Death of Cleopatra, portraying the queen in the throes of death, which was her largest and most significant sculpture. This piece depicts the moment popularized by Shakespeare in Antony and Cleopatra, in which Cleopatra had allowed herself to be bitten by a poisonous asp following the loss of her crown.  Of the piece, J. S. Ingraham wrote that Cleopatra was "the most remarkable piece of sculpture in the American section" of the Exposition. Much of the viewing public was shocked by Lewis's frank portrayal of death, but the statue drew thousands of viewers nonetheless. Cleopatra was considered a woman of both sensuous beauty and demonic power, and her self-annihilation has been repeatedly portrayed in art, literature and cinema. In Death of Cleopatra, Edmonia Lewis added an innovative flair by portraying the Egyptian queen in a disheveled, inelegant manner, a departure from the refined, composed Victorian approach to representing death. Considering Lewis's interest in emancipation imagery as seen in her work Forever Free, it is not surprising that Lewis eliminated Cleopatra's usual companion figures of loyal slaves from her work.  Lewis's The Death of Cleopatra may have been a response to the culture of the Centennial Exposition, which celebrated one hundred years of the United States being built around the principles of liberty and freedom, a celebration of unity despite centuries of slavery, the recent Civil War, and the failing attempts and efforts of Reconstruction. To avoid any acknowledgment of black empowerment by the Centennial, Lewis's sculpture could not have directly addressed the subject of Emancipation.}}After being placed in storage, the statue was moved to the 1878 Chicago Interstate Exposition, where it remained unsold. Then the sculpture was acquired by a gambler by the name of "Blind John" Condon, who purchased it from a saloon on Clark Street to mark the grave of a racehorse named "Cleopatra".  The grave was in front of the grandstand of his Harlem race track in the Chicago suburb of Forest Park, where the sculpture remained for nearly a century until the land was bought by the U.S. Postal Service and the sculpture was moved to a construction storage yard in Cicero, Illinois. According to Gurney, Curator Emeritus at the Smithsonian American Art Museum, the sculpture was in a race track in Forest Park, Illinois, during World War II. Finally, the sculpture came under the purview of the Forest Park Historical Society, which donated it to Smithsonian American Art Museum in 1994. Chicago-based Andrezej Dajnowski, in conjunction with the Smithsonian, spent $30,000 to restore it to its near-original state. The repairs were extensive, including the nose, sandals, hands, chin, and extensive "sugaring"

Prompt: エドモニア・ルイスでは、どのように私生活のクレオパトラの死が説明されていますか？英語で出力して下さい。

Antony and Cleopatra
Centennial Exposition
Chicago
Cicero, Illinois
Death of Cleopatra
Forest Park, Illinois
Smithsonian American Art Museum
Smithsonian American Art Museum


subsection

エドモニア・ルイス

A major coup in her career was participating in the 1876 Centennial Exposition in Philadelphia. For this, she created a monumental 3,015-pound marble sculpture, The Death of Cleopatra, portraying the queen in the throes of death, which was her largest and most significant sculpture. This piece depicts the moment popularized by Shakespeare in Antony and Cleopatra, in which Cleopatra had allowed herself to be bitten by a poisonous asp following the loss of her crown.  Of the piece, J. S. Ingraham wrote that Cleopatra was "the most remarkable piece of sculpture in the American section" of the Exposition. Much of the viewing public was shocked by Lewis's frank portrayal of death, but the statue drew thousands of viewers nonetheless. Cleopatra was considered a woman of both sensuous beauty and demonic power, and her self-annihilation has been repeatedly portrayed in art, literature and cinema. In Death of Cleopatra, Edmonia Lewis added an innovative flair by portraying the Egyptian queen in a disheveled, inelegant manner, a departure from the refined, composed Victorian approach to representing death. Considering Lewis's interest in emancipation imagery as seen in her work Forever Free, it is not surprising that Lewis eliminated Cleopatra's usual companion figures of loyal slaves from her work.  Lewis's The Death of Cleopatra may have been a response to the culture of the Centennial Exposition, which celebrated one hundred years of the United States being built around the principles of liberty and freedom, a celebration of unity despite centuries of slavery, the recent Civil War, and the failing attempts and efforts of Reconstruction. To avoid any acknowledgment of black empowerment by the Centennial, Lewis's sculpture could not have directly addressed the subject of Emancipation.}}After being placed in storage, the statue was moved to the 1878 Chicago Interstate Exposition, where it remained unsold. Then the sculpture was acquired by a gambler by the name of "Blind John" Condon, who purchased it from a saloon on Clark Street to mark the grave of a racehorse named "Cleopatra".  The grave was in front of the grandstand of his Harlem race track in the Chicago suburb of Forest Park, where the sculpture remained for nearly a century until the land was bought by the U.S. Postal Service and the sculpture was moved to a construction storage yard in Cicero, Illinois. According to Gurney, Curator Emeritus at the Smithsonian American Art Museum, the sculpture was in a race track in Forest Park, Illinois, during World War II. Finally, the sculpture came under the purview of the Forest Park Historical Society, which donated it to Smithsonian American Art Museum in 1994. Chicago-based Andrezej Dajnowski, in conjunction with the Smithsonian, spent $30,000 to restore it to its near-original state. The repairs were extensive, including the nose, sandals, hands, chin, and extensive "sugaring"

Prompt: エドモニア・ルイスの私生活におけるクレオパトラの死の特徴を説明してください。英語で出力して下さい。

Antony and Cleopatra
Centennial Exposition
Chicago
Cicero, Illinois
Death of Cleopatra
Forest Park, Illinois
Smithsonian American Art Museum
Smithsonian American Art Museum


subsection

エドモニア・ルイス

This sculpture was inspired by Lewis's Native American heritage. An arrow-maker and his daughter sit on a round base, dressed in traditional Native American clothes. The male figure has recognizable Native American facial features, but not the daughter. As white audiences misread her work as self-portraiture, she often removed all facial features associated with "colored" races in female portrayal. This statue later came to be known as The Wooing of Hiawatha, since it appears to depict a scene from Longfellow's epic poem where Minnehaha and her father are approached by Hiawatha. This interesting perspective of the scene  is particularly notable because it seems to come from Lewis's first-person insight into the character of a Native American and thus invites viewers to share this perspective.

Prompt: エドモニア・ルイスの文脈で、オールドアローメーカーと彼の娘と私生活を説明してください。英語で出力して下さい。


subsection

エドモニア・ルイス

This sculpture was inspired by Lewis's Native American heritage. An arrow-maker and his daughter sit on a round base, dressed in traditional Native American clothes. The male figure has recognizable Native American facial features, but not the daughter. As white audiences misread her work as self-portraiture, she often removed all facial features associated with "colored" races in female portrayal. This statue later came to be known as The Wooing of Hiawatha, since it appears to depict a scene from Longfellow's epic poem where Minnehaha and her father are approached by Hiawatha. This interesting perspective of the scene  is particularly notable because it seems to come from Lewis's first-person insight into the character of a Native American and thus invites viewers to share this perspective.

Prompt: エドモニア・ルイスの私生活に関するオールドアローメーカーと彼の娘を説明してください。英語で出力して下さい。


subsection

エドモニア・ルイス

This sculpture was inspired by Lewis's Native American heritage. An arrow-maker and his daughter sit on a round base, dressed in traditional Native American clothes. The male figure has recognizable Native American facial features, but not the daughter. As white audiences misread her work as self-portraiture, she often removed all facial features associated with "colored" races in female portrayal. This statue later came to be known as The Wooing of Hiawatha, since it appears to depict a scene from Longfellow's epic poem where Minnehaha and her father are approached by Hiawatha. This interesting perspective of the scene  is particularly notable because it seems to come from Lewis's first-person insight into the character of a Native American and thus invites viewers to share this perspective.

Prompt: エドモニア・ルイスでは、どのように私生活のオールドアローメーカーと彼の娘が説明されていますか？英語で出力して下さい。


subsection

エドモニア・ルイス

This sculpture was inspired by Lewis's Native American heritage. An arrow-maker and his daughter sit on a round base, dressed in traditional Native American clothes. The male figure has recognizable Native American facial features, but not the daughter. As white audiences misread her work as self-portraiture, she often removed all facial features associated with "colored" races in female portrayal. This statue later came to be known as The Wooing of Hiawatha, since it appears to depict a scene from Longfellow's epic poem where Minnehaha and her father are approached by Hiawatha. This interesting perspective of the scene  is particularly notable because it seems to come from Lewis's first-person insight into the character of a Native American and thus invites viewers to share this perspective.

Prompt: エドモニア・ルイスの私生活におけるオールドアローメーカーと彼の娘の特徴を説明してください。英語で出力して下さい。


subsection

エドモニア・ルイス

Forever Free is a sculpture by the American artist Edmonia Lewis. Created in 1867, it commemorates the abolition of slavery in the United States two years earlier and takes its title from President Lincoln's Emancipation Proclamation. The white marble sculpture shows a man standing, staring up, and raising his left arm into the air.Wrapped around his left wrist is a chain; however, this chain is not restraining him. To his right is a woman kneeling with her hands held in a position of prayer, the man's right hand gently placed on her right shoulder. The work differs from many other depictions of abolition from the period by showing the Black man standing and unshackled rather than bound or kneeling. Scholars have frequently puzzled over Lewis's decision to Europeanize the features of the female figure. At least one scholar has suggested that the choice may have been an acknowledgment of the varied appearance and heritage of African Americans such as Lewis herself, who was of both African and Native American descent.This piece is held by Howard University Gallery of Art in Washington, D.C.

Prompt: エドモニア・ルイスの文脈で、フォーエバーフリーと私生活を説明してください。英語で出力して下さい。

African Americans
Emancipation Proclamation
Howard University
Washington, D.C.


subsection

エドモニア・ルイス

Forever Free is a sculpture by the American artist Edmonia Lewis. Created in 1867, it commemorates the abolition of slavery in the United States two years earlier and takes its title from President Lincoln's Emancipation Proclamation. The white marble sculpture shows a man standing, staring up, and raising his left arm into the air.Wrapped around his left wrist is a chain; however, this chain is not restraining him. To his right is a woman kneeling with her hands held in a position of prayer, the man's right hand gently placed on her right shoulder. The work differs from many other depictions of abolition from the period by showing the Black man standing and unshackled rather than bound or kneeling. Scholars have frequently puzzled over Lewis's decision to Europeanize the features of the female figure. At least one scholar has suggested that the choice may have been an acknowledgment of the varied appearance and heritage of African Americans such as Lewis herself, who was of both African and Native American descent.This piece is held by Howard University Gallery of Art in Washington, D.C.

Prompt: エドモニア・ルイスの私生活に関するフォーエバーフリーを説明してください。英語で出力して下さい。

African Americans
Emancipation Proclamation
Howard University
Washington, D.C.


subsection

エドモニア・ルイス

Forever Free is a sculpture by the American artist Edmonia Lewis. Created in 1867, it commemorates the abolition of slavery in the United States two years earlier and takes its title from President Lincoln's Emancipation Proclamation. The white marble sculpture shows a man standing, staring up, and raising his left arm into the air.Wrapped around his left wrist is a chain; however, this chain is not restraining him. To his right is a woman kneeling with her hands held in a position of prayer, the man's right hand gently placed on her right shoulder. The work differs from many other depictions of abolition from the period by showing the Black man standing and unshackled rather than bound or kneeling. Scholars have frequently puzzled over Lewis's decision to Europeanize the features of the female figure. At least one scholar has suggested that the choice may have been an acknowledgment of the varied appearance and heritage of African Americans such as Lewis herself, who was of both African and Native American descent.This piece is held by Howard University Gallery of Art in Washington, D.C.

Prompt: エドモニア・ルイスでは、どのように私生活のフォーエバーフリーが説明されていますか？英語で出力して下さい。

African Americans
Emancipation Proclamation
Howard University
Washington, D.C.


subsection

エドモニア・ルイス

Forever Free is a sculpture by the American artist Edmonia Lewis. Created in 1867, it commemorates the abolition of slavery in the United States two years earlier and takes its title from President Lincoln's Emancipation Proclamation. The white marble sculpture shows a man standing, staring up, and raising his left arm into the air.Wrapped around his left wrist is a chain; however, this chain is not restraining him. To his right is a woman kneeling with her hands held in a position of prayer, the man's right hand gently placed on her right shoulder. The work differs from many other depictions of abolition from the period by showing the Black man standing and unshackled rather than bound or kneeling. Scholars have frequently puzzled over Lewis's decision to Europeanize the features of the female figure. At least one scholar has suggested that the choice may have been an acknowledgment of the varied appearance and heritage of African Americans such as Lewis herself, who was of both African and Native American descent.This piece is held by Howard University Gallery of Art in Washington, D.C.

Prompt: エドモニア・ルイスの私生活におけるフォーエバーフリーの特徴を説明してください。英語で出力して下さい。

African Americans
Emancipation Proclamation
Howard University
Washington, D.C.


subsection

エドモニア・ルイス

Lewis had a tendency to sculpt historically strong women, as demonstrated not just in Hagar but also in Lewis's Cleopatra piece. Lewis also depicted ordinary women in extreme situations, emphasizing their strength. Hagar is inspired by a character from the Old Testament, the handmaid or slave of Abraham's wife Sarah. Being unable to conceive a child, Sarah gave Hagar to Abraham, in order to bear him a son. Hagar gave birth to Abraham's firstborn son Ishmael, and after Sarah gave birth to her own son Isaac, she resented Hagar and made Abraham "cast her into the wilderness". The piece was made of white marble, and Hagar is standing as if about to walk on, with her hands clasped in prayer and staring slightly up but not straight across. Lewis uses Hagar to symbolize the African mother in the United States, and the frequent sexual abuse of African women by white men.

Prompt: エドモニア・ルイスの文脈で、ハガーと私生活を説明してください。英語で出力して下さい。


subsection

エドモニア・ルイス

Lewis had a tendency to sculpt historically strong women, as demonstrated not just in Hagar but also in Lewis's Cleopatra piece. Lewis also depicted ordinary women in extreme situations, emphasizing their strength. Hagar is inspired by a character from the Old Testament, the handmaid or slave of Abraham's wife Sarah. Being unable to conceive a child, Sarah gave Hagar to Abraham, in order to bear him a son. Hagar gave birth to Abraham's firstborn son Ishmael, and after Sarah gave birth to her own son Isaac, she resented Hagar and made Abraham "cast her into the wilderness". The piece was made of white marble, and Hagar is standing as if about to walk on, with her hands clasped in prayer and staring slightly up but not straight across. Lewis uses Hagar to symbolize the African mother in the United States, and the frequent sexual abuse of African women by white men.

Prompt: エドモニア・ルイスの私生活に関するハガーを説明してください。英語で出力して下さい。


subsection

エドモニア・ルイス

Lewis had a tendency to sculpt historically strong women, as demonstrated not just in Hagar but also in Lewis's Cleopatra piece. Lewis also depicted ordinary women in extreme situations, emphasizing their strength. Hagar is inspired by a character from the Old Testament, the handmaid or slave of Abraham's wife Sarah. Being unable to conceive a child, Sarah gave Hagar to Abraham, in order to bear him a son. Hagar gave birth to Abraham's firstborn son Ishmael, and after Sarah gave birth to her own son Isaac, she resented Hagar and made Abraham "cast her into the wilderness". The piece was made of white marble, and Hagar is standing as if about to walk on, with her hands clasped in prayer and staring slightly up but not straight across. Lewis uses Hagar to symbolize the African mother in the United States, and the frequent sexual abuse of African women by white men.

Prompt: エドモニア・ルイスでは、どのように私生活のハガーが説明されていますか？英語で出力して下さい。


subsection

エドモニア・ルイス

Lewis had a tendency to sculpt historically strong women, as demonstrated not just in Hagar but also in Lewis's Cleopatra piece. Lewis also depicted ordinary women in extreme situations, emphasizing their strength. Hagar is inspired by a character from the Old Testament, the handmaid or slave of Abraham's wife Sarah. Being unable to conceive a child, Sarah gave Hagar to Abraham, in order to bear him a son. Hagar gave birth to Abraham's firstborn son Ishmael, and after Sarah gave birth to her own son Isaac, she resented Hagar and made Abraham "cast her into the wilderness". The piece was made of white marble, and Hagar is standing as if about to walk on, with her hands clasped in prayer and staring slightly up but not straight across. Lewis uses Hagar to symbolize the African mother in the United States, and the frequent sexual abuse of African women by white men.

Prompt: エドモニア・ルイスの私生活におけるハガーの特徴を説明してください。英語で出力して下さい。


section

カラスのいる麦畑

F779JH2117 height_metric      = 50.2 width_metric       = 103 metric_unit        = cm imperial_unit      = in city               = Amsterdam museum             = Van Gogh Museum}}Wheatfield with Crows  is a July 1890 painting by Vincent van Gogh. It has been cited by several critics as one of his greatest works.It is commonly stated that this was van Gogh's final painting. This association was popularized by Vincente Minnelli’s 1956 biopic Lust for Life, which depicts van Gogh painting it immediately before shooting himself. His final painting in actuality was Tree Roots. The evidence of his letters suggests that Wheatfield with Crows was completed around 10 July and predates such paintings as Auvers Town Hall on 14 July 1890 and Daubigny's Garden. Moreover, Jan Hulsker has written that a painting of harvested wheat, Field with Stacks of Wheat , must be a later painting.

Prompt: カラスのいる麦畑に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Amsterdam
Daubigny's Garden
Jan Hulsker
Tree Roots
Van Gogh Museum
Vincent van Gogh


section

カラスのいる麦畑

F779JH2117 height_metric      = 50.2 width_metric       = 103 metric_unit        = cm imperial_unit      = in city               = Amsterdam museum             = Van Gogh Museum}}Wheatfield with Crows  is a July 1890 painting by Vincent van Gogh. It has been cited by several critics as one of his greatest works.It is commonly stated that this was van Gogh's final painting. This association was popularized by Vincente Minnelli’s 1956 biopic Lust for Life, which depicts van Gogh painting it immediately before shooting himself. His final painting in actuality was Tree Roots. The evidence of his letters suggests that Wheatfield with Crows was completed around 10 July and predates such paintings as Auvers Town Hall on 14 July 1890 and Daubigny's Garden. Moreover, Jan Hulsker has written that a painting of harvested wheat, Field with Stacks of Wheat , must be a later painting.

Prompt: カラスのいる麦畑の抽象を説明してください。英語で出力して下さい。

Amsterdam
Daubigny's Garden
Jan Hulsker
Tree Roots
Van Gogh Museum
Vincent van Gogh


section

カラスのいる麦畑

F779JH2117 height_metric      = 50.2 width_metric       = 103 metric_unit        = cm imperial_unit      = in city               = Amsterdam museum             = Van Gogh Museum}}Wheatfield with Crows  is a July 1890 painting by Vincent van Gogh. It has been cited by several critics as one of his greatest works.It is commonly stated that this was van Gogh's final painting. This association was popularized by Vincente Minnelli’s 1956 biopic Lust for Life, which depicts van Gogh painting it immediately before shooting himself. His final painting in actuality was Tree Roots. The evidence of his letters suggests that Wheatfield with Crows was completed around 10 July and predates such paintings as Auvers Town Hall on 14 July 1890 and Daubigny's Garden. Moreover, Jan Hulsker has written that a painting of harvested wheat, Field with Stacks of Wheat , must be a later painting.

Prompt: カラスのいる麦畑はどのように抽象を説明していますか？英語で出力して下さい。

Amsterdam
Daubigny's Garden
Jan Hulsker
Tree Roots
Van Gogh Museum
Vincent van Gogh


section

カラスのいる麦畑

F779JH2117 height_metric      = 50.2 width_metric       = 103 metric_unit        = cm imperial_unit      = in city               = Amsterdam museum             = Van Gogh Museum}}Wheatfield with Crows  is a July 1890 painting by Vincent van Gogh. It has been cited by several critics as one of his greatest works.It is commonly stated that this was van Gogh's final painting. This association was popularized by Vincente Minnelli’s 1956 biopic Lust for Life, which depicts van Gogh painting it immediately before shooting himself. His final painting in actuality was Tree Roots. The evidence of his letters suggests that Wheatfield with Crows was completed around 10 July and predates such paintings as Auvers Town Hall on 14 July 1890 and Daubigny's Garden. Moreover, Jan Hulsker has written that a painting of harvested wheat, Field with Stacks of Wheat , must be a later painting.

Prompt: カラスのいる麦畑に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Amsterdam
Daubigny's Garden
Jan Hulsker
Tree Roots
Van Gogh Museum
Vincent van Gogh


section

カラスのいる麦畑

The Van Gogh Museum's Wheatfield with Crows was painted in July 1890, in the last weeks of van Gogh's life. Many have claimed it as his last painting, while it is likely that Tree Roots was his final painting.Wheat Field with Crows, made on a double-square canvas, depicts a dramatic, cloudy sky filled with crows over a wheat field. A sense of isolation is heightened by a central path leading nowhere and by the uncertain direction of flight of the crows. The windswept wheat field fills two-thirds of the canvas.  Jules Michelet, one of van Gogh's favorite authors, wrote of crows: "They interest themselves in everything, and observe everything.  The ancients, who lived far more completely than ourselves in and with nature, found it no small profit to follow, in a hundred obscure things where human experience as yet affords no light, the directions of so prudent and sage a bird." Kathleen Erickson finds the painting as expressing both sorrow and a sense of his life coming to an end. The crows are used by van Gogh as a symbol of death and rebirth, or of resurrection. The road, in contrasting colors of red and green, is said by Erickson to be a metaphor for a sermon he gave based on Bunyan's The Pilgrim's Progress where the pilgrim is sorrowful that the road is so long, yet rejoices because the Eternal City waits at the journey's end.About 10 July 1890 van Gogh wrote to his brother Theo and his wife Jo Bonger, saying that he had painted another three large canvases at Auvers since visiting them in Paris on 6 July. Two of these are described as  immense stretches of wheatfields under turbulent skies, thought to be Wheatfield under Clouded Sky and Wheatfield with Crows, and the third is Daubigny's Garden. He wrote that he had made a point of expressing sadness, later adding "extreme loneliness" , but also says he believes the canvases show what he considers healthy and fortifying about the countryside .Walther and Metzger, in Van Gogh: The Complete Paintings, state that "There is nothing in van Gogh's words to support a simplistic interpretation along the lines of artistic angst and despair – nor is there any evidence for the widely-held belief that it was this painting that van Gogh had on his easel at the time he killed himself." and remark: "The crows in the painting, in other words, were an altogether personal symbol closely associated with van Gogh's own life".These painting are all examples of van Gogh's elongated double-square canvases, used exclusively by him in the last few weeks of his life, in June and July 1890.The painting is held in the collection of the Van Gogh Museum in Amsterdam, as is Wheatfield under Clouded Sky.Wheatfield with Crows was stolen and quickly recovered in 1991 along with 19 other van Gogh paintings; the painting was "severely damaged" during the heist.

Prompt: カラスのいる麦畑に焦点を当てて、その起源を説明してください。英語で出力して下さい。

Amsterdam
Daubigny's Garden
Jules Michelet
The Pilgrim's Progress
Tree Roots
Van Gogh Museum


section

カラスのいる麦畑

The Van Gogh Museum's Wheatfield with Crows was painted in July 1890, in the last weeks of van Gogh's life. Many have claimed it as his last painting, while it is likely that Tree Roots was his final painting.Wheat Field with Crows, made on a double-square canvas, depicts a dramatic, cloudy sky filled with crows over a wheat field. A sense of isolation is heightened by a central path leading nowhere and by the uncertain direction of flight of the crows. The windswept wheat field fills two-thirds of the canvas.  Jules Michelet, one of van Gogh's favorite authors, wrote of crows: "They interest themselves in everything, and observe everything.  The ancients, who lived far more completely than ourselves in and with nature, found it no small profit to follow, in a hundred obscure things where human experience as yet affords no light, the directions of so prudent and sage a bird." Kathleen Erickson finds the painting as expressing both sorrow and a sense of his life coming to an end. The crows are used by van Gogh as a symbol of death and rebirth, or of resurrection. The road, in contrasting colors of red and green, is said by Erickson to be a metaphor for a sermon he gave based on Bunyan's The Pilgrim's Progress where the pilgrim is sorrowful that the road is so long, yet rejoices because the Eternal City waits at the journey's end.About 10 July 1890 van Gogh wrote to his brother Theo and his wife Jo Bonger, saying that he had painted another three large canvases at Auvers since visiting them in Paris on 6 July. Two of these are described as  immense stretches of wheatfields under turbulent skies, thought to be Wheatfield under Clouded Sky and Wheatfield with Crows, and the third is Daubigny's Garden. He wrote that he had made a point of expressing sadness, later adding "extreme loneliness" , but also says he believes the canvases show what he considers healthy and fortifying about the countryside .Walther and Metzger, in Van Gogh: The Complete Paintings, state that "There is nothing in van Gogh's words to support a simplistic interpretation along the lines of artistic angst and despair – nor is there any evidence for the widely-held belief that it was this painting that van Gogh had on his easel at the time he killed himself." and remark: "The crows in the painting, in other words, were an altogether personal symbol closely associated with van Gogh's own life".These painting are all examples of van Gogh's elongated double-square canvases, used exclusively by him in the last few weeks of his life, in June and July 1890.The painting is held in the collection of the Van Gogh Museum in Amsterdam, as is Wheatfield under Clouded Sky.Wheatfield with Crows was stolen and quickly recovered in 1991 along with 19 other van Gogh paintings; the painting was "severely damaged" during the heist.

Prompt: カラスのいる麦畑の起源を説明してください。英語で出力して下さい。

Amsterdam
Daubigny's Garden
Jules Michelet
The Pilgrim's Progress
Tree Roots
Van Gogh Museum


section

カラスのいる麦畑

The Van Gogh Museum's Wheatfield with Crows was painted in July 1890, in the last weeks of van Gogh's life. Many have claimed it as his last painting, while it is likely that Tree Roots was his final painting.Wheat Field with Crows, made on a double-square canvas, depicts a dramatic, cloudy sky filled with crows over a wheat field. A sense of isolation is heightened by a central path leading nowhere and by the uncertain direction of flight of the crows. The windswept wheat field fills two-thirds of the canvas.  Jules Michelet, one of van Gogh's favorite authors, wrote of crows: "They interest themselves in everything, and observe everything.  The ancients, who lived far more completely than ourselves in and with nature, found it no small profit to follow, in a hundred obscure things where human experience as yet affords no light, the directions of so prudent and sage a bird." Kathleen Erickson finds the painting as expressing both sorrow and a sense of his life coming to an end. The crows are used by van Gogh as a symbol of death and rebirth, or of resurrection. The road, in contrasting colors of red and green, is said by Erickson to be a metaphor for a sermon he gave based on Bunyan's The Pilgrim's Progress where the pilgrim is sorrowful that the road is so long, yet rejoices because the Eternal City waits at the journey's end.About 10 July 1890 van Gogh wrote to his brother Theo and his wife Jo Bonger, saying that he had painted another three large canvases at Auvers since visiting them in Paris on 6 July. Two of these are described as  immense stretches of wheatfields under turbulent skies, thought to be Wheatfield under Clouded Sky and Wheatfield with Crows, and the third is Daubigny's Garden. He wrote that he had made a point of expressing sadness, later adding "extreme loneliness" , but also says he believes the canvases show what he considers healthy and fortifying about the countryside .Walther and Metzger, in Van Gogh: The Complete Paintings, state that "There is nothing in van Gogh's words to support a simplistic interpretation along the lines of artistic angst and despair – nor is there any evidence for the widely-held belief that it was this painting that van Gogh had on his easel at the time he killed himself." and remark: "The crows in the painting, in other words, were an altogether personal symbol closely associated with van Gogh's own life".These painting are all examples of van Gogh's elongated double-square canvases, used exclusively by him in the last few weeks of his life, in June and July 1890.The painting is held in the collection of the Van Gogh Museum in Amsterdam, as is Wheatfield under Clouded Sky.Wheatfield with Crows was stolen and quickly recovered in 1991 along with 19 other van Gogh paintings; the painting was "severely damaged" during the heist.

Prompt: カラスのいる麦畑はどのように起源を説明していますか？英語で出力して下さい。

Amsterdam
Daubigny's Garden
Jules Michelet
The Pilgrim's Progress
Tree Roots
Van Gogh Museum


section

カラスのいる麦畑

The Van Gogh Museum's Wheatfield with Crows was painted in July 1890, in the last weeks of van Gogh's life. Many have claimed it as his last painting, while it is likely that Tree Roots was his final painting.Wheat Field with Crows, made on a double-square canvas, depicts a dramatic, cloudy sky filled with crows over a wheat field. A sense of isolation is heightened by a central path leading nowhere and by the uncertain direction of flight of the crows. The windswept wheat field fills two-thirds of the canvas.  Jules Michelet, one of van Gogh's favorite authors, wrote of crows: "They interest themselves in everything, and observe everything.  The ancients, who lived far more completely than ourselves in and with nature, found it no small profit to follow, in a hundred obscure things where human experience as yet affords no light, the directions of so prudent and sage a bird." Kathleen Erickson finds the painting as expressing both sorrow and a sense of his life coming to an end. The crows are used by van Gogh as a symbol of death and rebirth, or of resurrection. The road, in contrasting colors of red and green, is said by Erickson to be a metaphor for a sermon he gave based on Bunyan's The Pilgrim's Progress where the pilgrim is sorrowful that the road is so long, yet rejoices because the Eternal City waits at the journey's end.About 10 July 1890 van Gogh wrote to his brother Theo and his wife Jo Bonger, saying that he had painted another three large canvases at Auvers since visiting them in Paris on 6 July. Two of these are described as  immense stretches of wheatfields under turbulent skies, thought to be Wheatfield under Clouded Sky and Wheatfield with Crows, and the third is Daubigny's Garden. He wrote that he had made a point of expressing sadness, later adding "extreme loneliness" , but also says he believes the canvases show what he considers healthy and fortifying about the countryside .Walther and Metzger, in Van Gogh: The Complete Paintings, state that "There is nothing in van Gogh's words to support a simplistic interpretation along the lines of artistic angst and despair – nor is there any evidence for the widely-held belief that it was this painting that van Gogh had on his easel at the time he killed himself." and remark: "The crows in the painting, in other words, were an altogether personal symbol closely associated with van Gogh's own life".These painting are all examples of van Gogh's elongated double-square canvases, used exclusively by him in the last few weeks of his life, in June and July 1890.The painting is held in the collection of the Van Gogh Museum in Amsterdam, as is Wheatfield under Clouded Sky.Wheatfield with Crows was stolen and quickly recovered in 1991 along with 19 other van Gogh paintings; the painting was "severely damaged" during the heist.

Prompt: カラスのいる麦畑に関して、どのように起源が議論されていますか？英語で出力して下さい。

Amsterdam
Daubigny's Garden
Jules Michelet
The Pilgrim's Progress
Tree Roots
Van Gogh Museum


section

カラスのいる麦畑

List of works by Vincent van Gogh For other paintings of wheat fields by Van Gogh see Wheat Fields . For Joan Mitchell's 1987 painting No Birds, a homage to Wheatfield with Crows, see her article Joan Mitchell.

Prompt: カラスのいる麦畑に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Joan Mitchell
List of works by Vincent van Gogh
Vincent van Gogh
Wheat Fields
Wheat Fields


section

カラスのいる麦畑

List of works by Vincent van Gogh For other paintings of wheat fields by Van Gogh see Wheat Fields . For Joan Mitchell's 1987 painting No Birds, a homage to Wheatfield with Crows, see her article Joan Mitchell.

Prompt: カラスのいる麦畑の参照を説明してください。英語で出力して下さい。

Joan Mitchell
List of works by Vincent van Gogh
Vincent van Gogh
Wheat Fields
Wheat Fields


section

カラスのいる麦畑

List of works by Vincent van Gogh For other paintings of wheat fields by Van Gogh see Wheat Fields . For Joan Mitchell's 1987 painting No Birds, a homage to Wheatfield with Crows, see her article Joan Mitchell.

Prompt: カラスのいる麦畑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。

Joan Mitchell
List of works by Vincent van Gogh
Vincent van Gogh
Wheat Fields
Wheat Fields


section

カラスのいる麦畑

List of works by Vincent van Gogh For other paintings of wheat fields by Van Gogh see Wheat Fields . For Joan Mitchell's 1987 painting No Birds, a homage to Wheatfield with Crows, see her article Joan Mitchell.

Prompt: カラスのいる麦畑に関して、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。

Joan Mitchell
List of works by Vincent van Gogh
Vincent van Gogh
Wheat Fields
Wheat Fields


section

カラスのいる麦畑

Erickson, Kathleen Powers. At Eternity's Gate: The Spiritual Vision of Vincent van Gogh, 1998.

Prompt: カラスのいる麦畑に焦点を当てて、そのさらなる読書を説明してください。英語で出力して下さい。


section

カラスのいる麦畑

Erickson, Kathleen Powers. At Eternity's Gate: The Spiritual Vision of Vincent van Gogh, 1998.

Prompt: カラスのいる麦畑のさらなる読書を説明してください。英語で出力して下さい。


section

カラスのいる麦畑

Erickson, Kathleen Powers. At Eternity's Gate: The Spiritual Vision of Vincent van Gogh, 1998.

Prompt: カラスのいる麦畑はどのようにさらなる読書を説明していますか？英語で出力して下さい。


section

カラスのいる麦畑

Erickson, Kathleen Powers. At Eternity's Gate: The Spiritual Vision of Vincent van Gogh, 1998.

Prompt: カラスのいる麦畑に関して、どのようにさらなる読書が議論されていますか？英語で出力して下さい。


section

ブノアの聖母

1478–1480 medium=Oil on canvas height_metric=49.5 width_metric=33 city=Saint Petersburg museum=Hermitage Museum}}The Benois Madonna, otherwise known as the Madonna and Child with Flowers, is a painting by the Italian Renaissance master Leonardo da Vinci in the Hermitage Museum, Saint Petersburg. One of two Madonnas begun by Leonardo in October 1478, it was completed  1478–1480; the other was the Madonna of the Carnation, now in the Alte Pinakothek, Munich.

Prompt: ブノ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。

Alte Pinakothek
Hermitage Museum
Italian Renaissance
Leonardo da Vinci
Madonna of the Carnation
Munich
Saint Petersburg


section

ブノアの聖母

1478–1480 medium=Oil on canvas height_metric=49.5 width_metric=33 city=Saint Petersburg museum=Hermitage Museum}}The Benois Madonna, otherwise known as the Madonna and Child with Flowers, is a painting by the Italian Renaissance master Leonardo da Vinci in the Hermitage Museum, Saint Petersburg. One of two Madonnas begun by Leonardo in October 1478, it was completed  1478–1480; the other was the Madonna of the Carnation, now in the Alte Pinakothek, Munich.

Prompt: ブノ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。

Alte Pinakothek
Hermitage Museum
Italian Renaissance
Leonardo da Vinci
Madonna of the Carnation
Munich
Saint Petersburg


section

ブノアの聖母

1478–1480 medium=Oil on canvas height_metric=49.5 width_metric=33 city=Saint Petersburg museum=Hermitage Museum}}The Benois Madonna, otherwise known as the Madonna and Child with Flowers, is a painting by the Italian Renaissance master Leonardo da Vinci in the Hermitage Museum, Saint Petersburg. One of two Madonnas begun by Leonardo in October 1478, it was completed  1478–1480; the other was the Madonna of the Carnation, now in the Alte Pinakothek, Munich.

Prompt: ブノ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。

Alte Pinakothek
Hermitage Museum
Italian Renaissance
Leonardo da Vinci
Madonna of the Carnation
Munich
Saint Petersburg


section

ブノアの聖母

1478–1480 medium=Oil on canvas height_metric=49.5 width_metric=33 city=Saint Petersburg museum=Hermitage Museum}}The Benois Madonna, otherwise known as the Madonna and Child with Flowers, is a painting by the Italian Renaissance master Leonardo da Vinci in the Hermitage Museum, Saint Petersburg. One of two Madonnas begun by Leonardo in October 1478, it was completed  1478–1480; the other was the Madonna of the Carnation, now in the Alte Pinakothek, Munich.

Prompt: ブノアの聖母に関して、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。

Alte Pinakothek
Hermitage Museum
Italian Renaissance
Leonardo da Vinci
Madonna of the Carnation
Munich
Saint Petersburg


section

ブノアの聖母

It is likely that the Benois Madonna was the first work painted by Leonardo independently from his master Andrea del Verrocchio. Two of Leonardo's preliminary sketches for this work are in the British Museum, although the painting was probably overpainted by other hands. The preliminary sketches and the painting itself suggest that Leonardo was concentrating on the idea of sight and perspective. The child is thought to be guiding his mother's hands into his central vision.The Benois Madonna has proved to be one of Leonardo's most popular works. It was extensively copied by young painters, including Raphael in his Madonna of the Pinks in the National Gallery, London.For centuries, the painting was presumed to have been lost, then found, then lost, then found, then lost. It had in fact been acquired in Italy by the Russian artillery general and art connoisseur   in the 1790s. Upon Korsakov's death, his son sold it for the sum of 1,400 roubles to the Astrakhan fishing merchant Alexander Petrovich Sapozhnikov, who had his own art gallery; it was then passed on to his wealthy philanthropist son Alexander Alexendrovich Sapozhnikov . Finally, when his daughter Maria Sapozhnikova  married the architect Leon Benois , the painting became part of the inheritance of the Benois family. In 1909, the painting was sensationally exhibited in Saint Petersburg as part of the Benois collection. In 1912, the Benois family considered selling the painting and requested an appraisal from the London art dealer Joseph Duveen, who gave an evaluation of 500,000 francs. The art historian Bernard Berenson made disparaging comments about the painting, raising doubts about its authenticity:Despite these wrangles about attribution, however, the Benois Madonna was eventually sold to the Imperial Hermitage Museum in 1914 for a record amount. The purchase was made by Ernst Friedrich von Liphart, then curator of paintings at the Hermitage, who identified da Vinci as the artist. The payments were made in installments, continuing even after the 1917 October Revolution.Since 1914 the painting has been exhibited in the Hermitage Museum, Saint Petersburg.

Prompt: ブノアの聖母に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Andrea del Verrocchio
Astrakhan
Bernard Berenson
British Museum
Ernst Friedrich von Liphart
Hermitage Museum
Italy
Leon Benois
Madonna of the Pinks
National Gallery
October Revolution
Raphael
Saint Petersburg


section

ブノアの聖母

It is likely that the Benois Madonna was the first work painted by Leonardo independently from his master Andrea del Verrocchio. Two of Leonardo's preliminary sketches for this work are in the British Museum, although the painting was probably overpainted by other hands. The preliminary sketches and the painting itself suggest that Leonardo was concentrating on the idea of sight and perspective. The child is thought to be guiding his mother's hands into his central vision.The Benois Madonna has proved to be one of Leonardo's most popular works. It was extensively copied by young painters, including Raphael in his Madonna of the Pinks in the National Gallery, London.For centuries, the painting was presumed to have been lost, then found, then lost, then found, then lost. It had in fact been acquired in Italy by the Russian artillery general and art connoisseur   in the 1790s. Upon Korsakov's death, his son sold it for the sum of 1,400 roubles to the Astrakhan fishing merchant Alexander Petrovich Sapozhnikov, who had his own art gallery; it was then passed on to his wealthy philanthropist son Alexander Alexendrovich Sapozhnikov . Finally, when his daughter Maria Sapozhnikova  married the architect Leon Benois , the painting became part of the inheritance of the Benois family. In 1909, the painting was sensationally exhibited in Saint Petersburg as part of the Benois collection. In 1912, the Benois family considered selling the painting and requested an appraisal from the London art dealer Joseph Duveen, who gave an evaluation of 500,000 francs. The art historian Bernard Berenson made disparaging comments about the painting, raising doubts about its authenticity:Despite these wrangles about attribution, however, the Benois Madonna was eventually sold to the Imperial Hermitage Museum in 1914 for a record amount. The purchase was made by Ernst Friedrich von Liphart, then curator of paintings at the Hermitage, who identified da Vinci as the artist. The payments were made in installments, continuing even after the 1917 October Revolution.Since 1914 the painting has been exhibited in the Hermitage Museum, Saint Petersburg.

Prompt: ブノアの聖母の歴史を説明してください。英語で出力して下さい。

Andrea del Verrocchio
Astrakhan
Bernard Berenson
British Museum
Ernst Friedrich von Liphart
Hermitage Museum
Italy
Leon Benois
Madonna of the Pinks
National Gallery
October Revolution
Raphael
Saint Petersburg


section

ブノアの聖母

It is likely that the Benois Madonna was the first work painted by Leonardo independently from his master Andrea del Verrocchio. Two of Leonardo's preliminary sketches for this work are in the British Museum, although the painting was probably overpainted by other hands. The preliminary sketches and the painting itself suggest that Leonardo was concentrating on the idea of sight and perspective. The child is thought to be guiding his mother's hands into his central vision.The Benois Madonna has proved to be one of Leonardo's most popular works. It was extensively copied by young painters, including Raphael in his Madonna of the Pinks in the National Gallery, London.For centuries, the painting was presumed to have been lost, then found, then lost, then found, then lost. It had in fact been acquired in Italy by the Russian artillery general and art connoisseur   in the 1790s. Upon Korsakov's death, his son sold it for the sum of 1,400 roubles to the Astrakhan fishing merchant Alexander Petrovich Sapozhnikov, who had his own art gallery; it was then passed on to his wealthy philanthropist son Alexander Alexendrovich Sapozhnikov . Finally, when his daughter Maria Sapozhnikova  married the architect Leon Benois , the painting became part of the inheritance of the Benois family. In 1909, the painting was sensationally exhibited in Saint Petersburg as part of the Benois collection. In 1912, the Benois family considered selling the painting and requested an appraisal from the London art dealer Joseph Duveen, who gave an evaluation of 500,000 francs. The art historian Bernard Berenson made disparaging comments about the painting, raising doubts about its authenticity:Despite these wrangles about attribution, however, the Benois Madonna was eventually sold to the Imperial Hermitage Museum in 1914 for a record amount. The purchase was made by Ernst Friedrich von Liphart, then curator of paintings at the Hermitage, who identified da Vinci as the artist. The payments were made in installments, continuing even after the 1917 October Revolution.Since 1914 the painting has been exhibited in the Hermitage Museum, Saint Petersburg.

Prompt: ブノアの聖母はどのように歴史を説明していますか？英語で出力して下さい。

Andrea del Verrocchio
Astrakhan
Bernard Berenson
British Museum
Ernst Friedrich von Liphart
Hermitage Museum
Italy
Leon Benois
Madonna of the Pinks
National Gallery
October Revolution
Raphael
Saint Petersburg


section

ブノアの聖母

It is likely that the Benois Madonna was the first work painted by Leonardo independently from his master Andrea del Verrocchio. Two of Leonardo's preliminary sketches for this work are in the British Museum, although the painting was probably overpainted by other hands. The preliminary sketches and the painting itself suggest that Leonardo was concentrating on the idea of sight and perspective. The child is thought to be guiding his mother's hands into his central vision.The Benois Madonna has proved to be one of Leonardo's most popular works. It was extensively copied by young painters, including Raphael in his Madonna of the Pinks in the National Gallery, London.For centuries, the painting was presumed to have been lost, then found, then lost, then found, then lost. It had in fact been acquired in Italy by the Russian artillery general and art connoisseur   in the 1790s. Upon Korsakov's death, his son sold it for the sum of 1,400 roubles to the Astrakhan fishing merchant Alexander Petrovich Sapozhnikov, who had his own art gallery; it was then passed on to his wealthy philanthropist son Alexander Alexendrovich Sapozhnikov . Finally, when his daughter Maria Sapozhnikova  married the architect Leon Benois , the painting became part of the inheritance of the Benois family. In 1909, the painting was sensationally exhibited in Saint Petersburg as part of the Benois collection. In 1912, the Benois family considered selling the painting and requested an appraisal from the London art dealer Joseph Duveen, who gave an evaluation of 500,000 francs. The art historian Bernard Berenson made disparaging comments about the painting, raising doubts about its authenticity:Despite these wrangles about attribution, however, the Benois Madonna was eventually sold to the Imperial Hermitage Museum in 1914 for a record amount. The purchase was made by Ernst Friedrich von Liphart, then curator of paintings at the Hermitage, who identified da Vinci as the artist. The payments were made in installments, continuing even after the 1917 October Revolution.Since 1914 the painting has been exhibited in the Hermitage Museum, Saint Petersburg.

Prompt: ブノアの聖母に関して、どのように歴史が議論されていますか？英語で出力して下さい。

Andrea del Verrocchio
Astrakhan
Bernard Berenson
British Museum
Ernst Friedrich von Liphart
Hermitage Museum
Italy
Leon Benois
Madonna of the Pinks
National Gallery
October Revolution
Raphael
Saint Petersburg


section

ブノアの聖母

upright=1This small painting shows a dark room with the Virgin seated on a bench with her Child outstretched on her lap. Her young rounded face is lively; she is clothed in an olive and brown raiment, with brown and blue underwear covering her knees. The amply proportioned Christ Child grasps a cruciform sprig of flowers which the Virgin is holding. The faces of the vividly coloured figures are crowned with delicately gilded haloes. In an otherwise dark interior, a double-arched aperture gives a glimpse on to pale blue skies.

Prompt: ブノアの聖母に焦点を当てて、その記述と解釈を説明してください。英語で出力して下さい。


section

ブノアの聖母

upright=1This small painting shows a dark room with the Virgin seated on a bench with her Child outstretched on her lap. Her young rounded face is lively; she is clothed in an olive and brown raiment, with brown and blue underwear covering her knees. The amply proportioned Christ Child grasps a cruciform sprig of flowers which the Virgin is holding. The faces of the vividly coloured figures are crowned with delicately gilded haloes. In an otherwise dark interior, a double-arched aperture gives a glimpse on to pale blue skies.

Prompt: ブノアの聖母の記述と解釈を説明してください。英語で出力して下さい。


section

ブノアの聖母

upright=1This small painting shows a dark room with the Virgin seated on a bench with her Child outstretched on her lap. Her young rounded face is lively; she is clothed in an olive and brown raiment, with brown and blue underwear covering her knees. The amply proportioned Christ Child grasps a cruciform sprig of flowers which the Virgin is holding. The faces of the vividly coloured figures are crowned with delicately gilded haloes. In an otherwise dark interior, a double-arched aperture gives a glimpse on to pale blue skies.

Prompt: ブノアの聖母はどのように記述と解釈を説明していますか？英語で出力して下さい。


section

ブノアの聖母

upright=1This small painting shows a dark room with the Virgin seated on a bench with her Child outstretched on her lap. Her young rounded face is lively; she is clothed in an olive and brown raiment, with brown and blue underwear covering her knees. The amply proportioned Christ Child grasps a cruciform sprig of flowers which the Virgin is holding. The faces of the vividly coloured figures are crowned with delicately gilded haloes. In an otherwise dark interior, a double-arched aperture gives a glimpse on to pale blue skies.

Prompt: ブノアの聖母に関して、どのように記述と解釈が議論されていますか？英語で出力して下さい。


section

ブノアの聖母

Marian art in the Catholic Church List of works by Leonardo da Vinci

Prompt: ブノアの聖母に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Leonardo da Vinci
List of works by Leonardo da Vinci
Marian art in the Catholic Church


section

ブノアの聖母

Marian art in the Catholic Church List of works by Leonardo da Vinci

Prompt: ブノアの聖母の参照を説明してください。英語で出力して下さい。

Leonardo da Vinci
List of works by Leonardo da Vinci
Marian art in the Catholic Church


section

ブノアの聖母

Marian art in the Catholic Church List of works by Leonardo da Vinci

Prompt: ブノアの聖母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。

Leonardo da Vinci
List of works by Leonardo da Vinci
Marian art in the Catholic Church


section

ブノアの聖母

Marian art in the Catholic Church List of works by Leonardo da Vinci

Prompt: ブノアの聖母に関して、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。

Leonardo da Vinci
List of works by Leonardo da Vinci
Marian art in the Catholic Church


section

白貂を抱く貴婦人

The dy with an Ermine ; ). It is sometimes known as the Portrait of Cecilia Gallerani, the Portrait of an Unknown Woman, the dy with a Ferret, or the dy with a Marten.group=n}} is a portrait painting widely attributed to the Italian Renaissance artist Leonardo da Vinci. Dated to , the work is painted in oils on a panel of walnut wood. Its subject is  Cecilia Gallerani, a mistress of Ludovico Sforza , Duke of Milan; Leonardo was painter to the Sforza court in Milan at the time of its execution. It is the second of only four surviving portraits of women painted by Leonardo, the others being Ginevra de' Benci,  Belle Ferronnière and the Mona Lisa.dy with an Ermine is now housed at the Czartoryski Museum in Kraków, and is one of Poland's national treasures. It is part of the Princes Czartoryski Collection, which was sold for €100 million  on 29 December 2016 to the Polish government by Princes Czartoryski Foundation, represented by Adam Karol Czartoryski, the last direct descendant of Izabela Czartoryska Flemming and Adam George Czartoryski, who brought the painting to Poland from Italy in 1798.

Prompt: 白貂を抱く貴婦人に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Adam Karol Czartoryski
Cecilia Gallerani
Czartoryski Museum
Ginevra de' Benci
Italian Renaissance
Izabela Czartoryska
Kraków
Leonardo da Vinci
Ludovico Sforza
Milan
Mona Lisa
Poland
Princes Czartoryski Foundation


section

白貂を抱く貴婦人

The dy with an Ermine ; ). It is sometimes known as the Portrait of Cecilia Gallerani, the Portrait of an Unknown Woman, the dy with a Ferret, or the dy with a Marten.group=n}} is a portrait painting widely attributed to the Italian Renaissance artist Leonardo da Vinci. Dated to , the work is painted in oils on a panel of walnut wood. Its subject is  Cecilia Gallerani, a mistress of Ludovico Sforza , Duke of Milan; Leonardo was painter to the Sforza court in Milan at the time of its execution. It is the second of only four surviving portraits of women painted by Leonardo, the others being Ginevra de' Benci,  Belle Ferronnière and the Mona Lisa.dy with an Ermine is now housed at the Czartoryski Museum in Kraków, and is one of Poland's national treasures. It is part of the Princes Czartoryski Collection, which was sold for €100 million  on 29 December 2016 to the Polish government by Princes Czartoryski Foundation, represented by Adam Karol Czartoryski, the last direct descendant of Izabela Czartoryska Flemming and Adam George Czartoryski, who brought the painting to Poland from Italy in 1798.

Prompt: 白貂を抱く貴婦人の抽象を説明してください。英語で出力して下さい。

Adam Karol Czartoryski
Cecilia Gallerani
Czartoryski Museum
Ginevra de' Benci
Italian Renaissance
Izabela Czartoryska
Kraków
Leonardo da Vinci
Ludovico Sforza
Milan
Mona Lisa
Poland
Princes Czartoryski Foundation


section

白貂を抱く貴婦人

The dy with an Ermine ; ). It is sometimes known as the Portrait of Cecilia Gallerani, the Portrait of an Unknown Woman, the dy with a Ferret, or the dy with a Marten.group=n}} is a portrait painting widely attributed to the Italian Renaissance artist Leonardo da Vinci. Dated to , the work is painted in oils on a panel of walnut wood. Its subject is  Cecilia Gallerani, a mistress of Ludovico Sforza , Duke of Milan; Leonardo was painter to the Sforza court in Milan at the time of its execution. It is the second of only four surviving portraits of women painted by Leonardo, the others being Ginevra de' Benci,  Belle Ferronnière and the Mona Lisa.dy with an Ermine is now housed at the Czartoryski Museum in Kraków, and is one of Poland's national treasures. It is part of the Princes Czartoryski Collection, which was sold for €100 million  on 29 December 2016 to the Polish government by Princes Czartoryski Foundation, represented by Adam Karol Czartoryski, the last direct descendant of Izabela Czartoryska Flemming and Adam George Czartoryski, who brought the painting to Poland from Italy in 1798.

Prompt: 白貂を抱く貴婦人はどのように抽象を説明していますか？英語で出力して下さい。

Adam Karol Czartoryski
Cecilia Gallerani
Czartoryski Museum
Ginevra de' Benci
Italian Renaissance
Izabela Czartoryska
Kraków
Leonardo da Vinci
Ludovico Sforza
Milan
Mona Lisa
Poland
Princes Czartoryski Foundation


section

白貂を抱く貴婦人

The dy with an Ermine ; ). It is sometimes known as the Portrait of Cecilia Gallerani, the Portrait of an Unknown Woman, the dy with a Ferret, or the dy with a Marten.group=n}} is a portrait painting widely attributed to the Italian Renaissance artist Leonardo da Vinci. Dated to , the work is painted in oils on a panel of walnut wood. Its subject is  Cecilia Gallerani, a mistress of Ludovico Sforza , Duke of Milan; Leonardo was painter to the Sforza court in Milan at the time of its execution. It is the second of only four surviving portraits of women painted by Leonardo, the others being Ginevra de' Benci,  Belle Ferronnière and the Mona Lisa.dy with an Ermine is now housed at the Czartoryski Museum in Kraków, and is one of Poland's national treasures. It is part of the Princes Czartoryski Collection, which was sold for €100 million  on 29 December 2016 to the Polish government by Princes Czartoryski Foundation, represented by Adam Karol Czartoryski, the last direct descendant of Izabela Czartoryska Flemming and Adam George Czartoryski, who brought the painting to Poland from Italy in 1798.

Prompt: 白貂を抱く貴婦人に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Adam Karol Czartoryski
Cecilia Gallerani
Czartoryski Museum
Ginevra de' Benci
Italian Renaissance
Izabela Czartoryska
Kraków
Leonardo da Vinci
Ludovico Sforza
Milan
Mona Lisa
Poland
Princes Czartoryski Foundation


section

白貂を抱く貴婦人

It was not until the 20th century that the dy with an Ermine was widely accepted by scholars to be a work of Leonardo. The attribution is due to the style of chiaroscuro, intricate detail and "contemplative tone" typical of Leonardo.

Prompt: 白貂を抱く貴婦人に焦点を当てて、その帰属を説明してください。英語で出力して下さい。


section

白貂を抱く貴婦人

It was not until the 20th century that the dy with an Ermine was widely accepted by scholars to be a work of Leonardo. The attribution is due to the style of chiaroscuro, intricate detail and "contemplative tone" typical of Leonardo.

Prompt: 白貂を抱く貴婦人の帰属を説明してください。英語で出力して下さい。


section

白貂を抱く貴婦人

It was not until the 20th century that the dy with an Ermine was widely accepted by scholars to be a work of Leonardo. The attribution is due to the style of chiaroscuro, intricate detail and "contemplative tone" typical of Leonardo.

Prompt: 白貂を抱く貴婦人はどのように帰属を説明していますか？英語で出力して下さい。


section

白貂を抱く貴婦人

It was not until the 20th century that the dy with an Ermine was widely accepted by scholars to be a work of Leonardo. The attribution is due to the style of chiaroscuro, intricate detail and "contemplative tone" typical of Leonardo.

Prompt: 白貂を抱く貴婦人に関して、どのように帰属が議論されていますか？英語で出力して下さい。


section

白貂を抱く貴婦人

The dy with an Ermine can securely be dated to Leonardo's first Milanese period . Specifically, scholars date the painting to 1489–1491.: :  : 1489–1490 :  : 1489/1490group=nname=date}}

Prompt: 白貂を抱く貴婦人に焦点を当てて、そのデートを説明してください。英語で出力して下さい。


section

白貂を抱く貴婦人

The dy with an Ermine can securely be dated to Leonardo's first Milanese period . Specifically, scholars date the painting to 1489–1491.: :  : 1489–1490 :  : 1489/1490group=nname=date}}

Prompt: 白貂を抱く貴婦人のデートを説明してください。英語で出力して下さい。


section

白貂を抱く貴婦人

The dy with an Ermine can securely be dated to Leonardo's first Milanese period . Specifically, scholars date the painting to 1489–1491.: :  : 1489–1490 :  : 1489/1490group=nname=date}}

Prompt: 白貂を抱く貴婦人はどのようにデートを説明していますか？英語で出力して下さい。


section

白貂を抱く貴婦人

The dy with an Ermine can securely be dated to Leonardo's first Milanese period . Specifically, scholars date the painting to 1489–1491.: :  : 1489–1490 :  : 1489/1490group=nname=date}}

Prompt: 白貂を抱く貴婦人に関して、どのようにデートが議論されていますか？英語で出力して下さい。


section

白貂を抱く貴婦人

Prompt: 白貂を抱く貴婦人に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Leonardo da Vinci
List of works by Leonardo da Vinci


section

白貂を抱く貴婦人

Prompt: 白貂を抱く貴婦人の参照を説明してください。英語で出力して下さい。

Leonardo da Vinci
List of works by Leonardo da Vinci


section

白貂を抱く貴婦人

Prompt: 白貂を抱く貴婦人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。

Leonardo da Vinci
List of works by Leonardo da Vinci


section

白貂を抱く貴婦人

Prompt: 白貂を抱く貴婦人に関して、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。

Leonardo da Vinci
List of works by Leonardo da Vinci


section

白貂を抱く貴婦人

;Books      }}    }}       ;Journals and articles       ;Online

Prompt: 白貂を抱く貴婦人に焦点を当てて、その情報源を説明してください。英語で出力して下さい。


section

白貂を抱く貴婦人

;Books      }}    }}       ;Journals and articles       ;Online

Prompt: 白貂を抱く貴婦人の情報源を説明してください。英語で出力して下さい。


section

白貂を抱く貴婦人

;Books      }}    }}       ;Journals and articles       ;Online

Prompt: 白貂を抱く貴婦人はどのように情報源を説明していますか？英語で出力して下さい。


section

白貂を抱く貴婦人

;Books      }}    }}       ;Journals and articles       ;Online

Prompt: 白貂を抱く貴婦人に関して、どのように情報源が議論されていますか？英語で出力して下さい。


subsection

白貂を抱く貴婦人

The painting was executed in oils on a somewhat small, 54 × 39 cm  walnut wood panel. It depicts a half-height woman turned toward her right at a three-quarter angle, but with her face turned toward her left. The animal in her arms twists in a similar manner, resulting in considerable contrapposto with the lady, a technique Leonardo explored earlier with the angel in the Virgin of the Rocks. The work is prepared with a layer of white gesso and a layer of brownish underpaint. In general, the paint is evenly applied akin to the Mona Lisa, though certain areas of the lady's skin are more layered. Also present are the subtle remains of spolvero , underdrawing , and fingerprints , the latter of which are particularly common in Leonardo's paintings. It is made from a single piece of walnut wood; Leonardo recommended, and favored walnut wood, though it was not commonly used by other artists in Lombardy. The wood is thin  and is most likely from the same tree as the wood for his later portrait,  Belle Ferronnière. The dy with an Ermine is also connected to  Belle Ferronnière, as well as Leonardo's earlier Portrait of a Musician, due to the three paintings including black backgrounds.Though there are a few areas of minor damage, art historian Frank Zöllner insists the work is in "very good condition... similar to the equally well preserved Mona Lisa". Such an evaluation is relatively recent, however, as the work was previously considered to be considerably damaged and repainted. Promotion of such an analysis largely began with the art historian Kenneth Clark, who asserted in 1961 that the entire left side of the figure, as well as the background had been repainted. Scholars such as Adolfo Venturi, Angela Ottino della Chiesa and Jack Wasserman advanced the idea; however, a 1992 technical analysis at the National Gallery of Art led by David Bull has confirmed that the damage was limited to the background. Specifically, the background was likely originally a bluish-grey, overpainted with black during the mid-18th century. The signature  in the top left corner was probably also added at this time. There is also slight overpainting in the mouth and nose; some art historians suggest Eugène Delacroix was responsible for the overpaint in the background and elsewhere. The background was also subject to the misconception that it originally included a window. It was proposed by Kazimierz Kwiatkowski, who led 1955 X-ray testing at Warsaw boratories, and explained certain spots in the right background as being remnants of a window.group=n}} Such a conclusion has been disproven by Bull, Pietro C. Marani and others. In light of this revision—with the primary damage being overpaint in the background—the art historian Martin Kemp noted that "the picture is in much better condition than the standard accounts suggest, and gives the clearest indication of the freshly brilliant quality of Leonardo's painting during his period at the Sforza court in Milan".

Prompt: 白貂を抱く貴婦人の文脈で、作曲とヌルを説明してください。英語で出力して下さい。

Adolfo Venturi
Eugène Delacroix
Frank Zöllner
Kenneth Clark
Lombardy
Milan
Mona Lisa
National Gallery
National Gallery of Art
Pietro C. Marani
Portrait of a Musician
Virgin of the Rocks


subsection

白貂を抱く貴婦人

The painting was executed in oils on a somewhat small, 54 × 39 cm  walnut wood panel. It depicts a half-height woman turned toward her right at a three-quarter angle, but with her face turned toward her left. The animal in her arms twists in a similar manner, resulting in considerable contrapposto with the lady, a technique Leonardo explored earlier with the angel in the Virgin of the Rocks. The work is prepared with a layer of white gesso and a layer of brownish underpaint. In general, the paint is evenly applied akin to the Mona Lisa, though certain areas of the lady's skin are more layered. Also present are the subtle remains of spolvero , underdrawing , and fingerprints , the latter of which are particularly common in Leonardo's paintings. It is made from a single piece of walnut wood; Leonardo recommended, and favored walnut wood, though it was not commonly used by other artists in Lombardy. The wood is thin  and is most likely from the same tree as the wood for his later portrait,  Belle Ferronnière. The dy with an Ermine is also connected to  Belle Ferronnière, as well as Leonardo's earlier Portrait of a Musician, due to the three paintings including black backgrounds.Though there are a few areas of minor damage, art historian Frank Zöllner insists the work is in "very good condition... similar to the equally well preserved Mona Lisa". Such an evaluation is relatively recent, however, as the work was previously considered to be considerably damaged and repainted. Promotion of such an analysis largely began with the art historian Kenneth Clark, who asserted in 1961 that the entire left side of the figure, as well as the background had been repainted. Scholars such as Adolfo Venturi, Angela Ottino della Chiesa and Jack Wasserman advanced the idea; however, a 1992 technical analysis at the National Gallery of Art led by David Bull has confirmed that the damage was limited to the background. Specifically, the background was likely originally a bluish-grey, overpainted with black during the mid-18th century. The signature  in the top left corner was probably also added at this time. There is also slight overpainting in the mouth and nose; some art historians suggest Eugène Delacroix was responsible for the overpaint in the background and elsewhere. The background was also subject to the misconception that it originally included a window. It was proposed by Kazimierz Kwiatkowski, who led 1955 X-ray testing at Warsaw boratories, and explained certain spots in the right background as being remnants of a window.group=n}} Such a conclusion has been disproven by Bull, Pietro C. Marani and others. In light of this revision—with the primary damage being overpaint in the background—the art historian Martin Kemp noted that "the picture is in much better condition than the standard accounts suggest, and gives the clearest indication of the freshly brilliant quality of Leonardo's painting during his period at the Sforza court in Milan".

Prompt: 白貂を抱く貴婦人のヌルに関する作曲を説明してください。英語で出力して下さい。

Adolfo Venturi
Eugène Delacroix
Frank Zöllner
Kenneth Clark
Lombardy
Milan
Mona Lisa
National Gallery
National Gallery of Art
Pietro C. Marani
Portrait of a Musician
Virgin of the Rocks


subsection

白貂を抱く貴婦人

The painting was executed in oils on a somewhat small, 54 × 39 cm  walnut wood panel. It depicts a half-height woman turned toward her right at a three-quarter angle, but with her face turned toward her left. The animal in her arms twists in a similar manner, resulting in considerable contrapposto with the lady, a technique Leonardo explored earlier with the angel in the Virgin of the Rocks. The work is prepared with a layer of white gesso and a layer of brownish underpaint. In general, the paint is evenly applied akin to the Mona Lisa, though certain areas of the lady's skin are more layered. Also present are the subtle remains of spolvero , underdrawing , and fingerprints , the latter of which are particularly common in Leonardo's paintings. It is made from a single piece of walnut wood; Leonardo recommended, and favored walnut wood, though it was not commonly used by other artists in Lombardy. The wood is thin  and is most likely from the same tree as the wood for his later portrait,  Belle Ferronnière. The dy with an Ermine is also connected to  Belle Ferronnière, as well as Leonardo's earlier Portrait of a Musician, due to the three paintings including black backgrounds.Though there are a few areas of minor damage, art historian Frank Zöllner insists the work is in "very good condition... similar to the equally well preserved Mona Lisa". Such an evaluation is relatively recent, however, as the work was previously considered to be considerably damaged and repainted. Promotion of such an analysis largely began with the art historian Kenneth Clark, who asserted in 1961 that the entire left side of the figure, as well as the background had been repainted. Scholars such as Adolfo Venturi, Angela Ottino della Chiesa and Jack Wasserman advanced the idea; however, a 1992 technical analysis at the National Gallery of Art led by David Bull has confirmed that the damage was limited to the background. Specifically, the background was likely originally a bluish-grey, overpainted with black during the mid-18th century. The signature  in the top left corner was probably also added at this time. There is also slight overpainting in the mouth and nose; some art historians suggest Eugène Delacroix was responsible for the overpaint in the background and elsewhere. The background was also subject to the misconception that it originally included a window. It was proposed by Kazimierz Kwiatkowski, who led 1955 X-ray testing at Warsaw boratories, and explained certain spots in the right background as being remnants of a window.group=n}} Such a conclusion has been disproven by Bull, Pietro C. Marani and others. In light of this revision—with the primary damage being overpaint in the background—the art historian Martin Kemp noted that "the picture is in much better condition than the standard accounts suggest, and gives the clearest indication of the freshly brilliant quality of Leonardo's painting during his period at the Sforza court in Milan".

Prompt: 白貂を抱く貴婦人では、どのようにヌルの作曲が説明されていますか？英語で出力して下さい。

Adolfo Venturi
Eugène Delacroix
Frank Zöllner
Kenneth Clark
Lombardy
Milan
Mona Lisa
National Gallery
National Gallery of Art
Pietro C. Marani
Portrait of a Musician
Virgin of the Rocks


subsection

白貂を抱く貴婦人

The painting was executed in oils on a somewhat small, 54 × 39 cm  walnut wood panel. It depicts a half-height woman turned toward her right at a three-quarter angle, but with her face turned toward her left. The animal in her arms twists in a similar manner, resulting in considerable contrapposto with the lady, a technique Leonardo explored earlier with the angel in the Virgin of the Rocks. The work is prepared with a layer of white gesso and a layer of brownish underpaint. In general, the paint is evenly applied akin to the Mona Lisa, though certain areas of the lady's skin are more layered. Also present are the subtle remains of spolvero , underdrawing , and fingerprints , the latter of which are particularly common in Leonardo's paintings. It is made from a single piece of walnut wood; Leonardo recommended, and favored walnut wood, though it was not commonly used by other artists in Lombardy. The wood is thin  and is most likely from the same tree as the wood for his later portrait,  Belle Ferronnière. The dy with an Ermine is also connected to  Belle Ferronnière, as well as Leonardo's earlier Portrait of a Musician, due to the three paintings including black backgrounds.Though there are a few areas of minor damage, art historian Frank Zöllner insists the work is in "very good condition... similar to the equally well preserved Mona Lisa". Such an evaluation is relatively recent, however, as the work was previously considered to be considerably damaged and repainted. Promotion of such an analysis largely began with the art historian Kenneth Clark, who asserted in 1961 that the entire left side of the figure, as well as the background had been repainted. Scholars such as Adolfo Venturi, Angela Ottino della Chiesa and Jack Wasserman advanced the idea; however, a 1992 technical analysis at the National Gallery of Art led by David Bull has confirmed that the damage was limited to the background. Specifically, the background was likely originally a bluish-grey, overpainted with black during the mid-18th century. The signature  in the top left corner was probably also added at this time. There is also slight overpainting in the mouth and nose; some art historians suggest Eugène Delacroix was responsible for the overpaint in the background and elsewhere. The background was also subject to the misconception that it originally included a window. It was proposed by Kazimierz Kwiatkowski, who led 1955 X-ray testing at Warsaw boratories, and explained certain spots in the right background as being remnants of a window.group=n}} Such a conclusion has been disproven by Bull, Pietro C. Marani and others. In light of this revision—with the primary damage being overpaint in the background—the art historian Martin Kemp noted that "the picture is in much better condition than the standard accounts suggest, and gives the clearest indication of the freshly brilliant quality of Leonardo's painting during his period at the Sforza court in Milan".

Prompt: 白貂を抱く貴婦人のヌルにおける作曲の特徴を説明してください。英語で出力して下さい。

Adolfo Venturi
Eugène Delacroix
Frank Zöllner
Kenneth Clark
Lombardy
Milan
Mona Lisa
National Gallery
National Gallery of Art
Pietro C. Marani
Portrait of a Musician
Virgin of the Rocks


subsection

白貂を抱く貴婦人

The subject has been identified with reasonable certainty as Cecilia Gallerani, the mistress of Leonardo's Milanese employer, Ludovico Sforza. She looks to her left at something out of frame, toward the light, where the biographer Walter Isaacson suggests Ludovico is. Following the marriage of Isabella of Aragon, Duchess of Milan and Gian Galeazzo Sforza, her 'Spanish style' dress would have been particularly fashionable. She has a silk sbernia on over her left shoulder, though Leonardo has simplified the traditional manner of wearing—where it would be draped over both shoulders—potentially to avoid too much complication in the various elements of the painting. Her right shoulder shows an ornately embroidered gold band over a velvet dress. Again, Leonardo has simplified the design, by having the left shoulder band covered by the sbernia, so as to not take away from the animal's detailed head. Her coiffure, known as a coazzone, confines her hair smoothly to her head with two bands of it bound on either side of her face and a long plait at the back. Her hair is held in place by a fine gauze veil with a woven border of gold-wound threads, a black band, and a sheath over the plait.As in many of Leonardo's paintings, the composition comprises a pyramidic spiral and the sitter is caught in the motion of turning to her left, reflecting Leonardo's lifelong preoccupation with the dynamics of movement. The three-quarter profile portrait was one of his many innovations. Il Moro's court poet, Bernardo Bellincioni, was the first to propose that Cecilia was poised as if listening to an unseen speaker. This work in particular shows Leonardo's expertise in painting the human form. The artist painted Cecilia's outstretched hand with a lot of detail, including the shape of each fingernail, the lines around her knuckles, and even the way the tendon in her bent finger moved as it bentA recent study brings to the forefront and supports another so far little-followed hypothesis: the heroic character of Caterina Sforza, the lioness of Romagna, is proposed as being the model of this allegorical representation in which the mental strength and beauty that were attributed to Amazons in mythology.

Prompt: 白貂を抱く貴婦人の文脈で、レディとヌルを説明してください。英語で出力して下さい。

Amazons
Bernardo Bellincioni
Caterina Sforza
Cecilia Gallerani
Gian Galeazzo Sforza
Isabella of Aragon, Duchess of Milan
Ludovico Sforza
Milan
Walter Isaacson


subsection

白貂を抱く貴婦人

The subject has been identified with reasonable certainty as Cecilia Gallerani, the mistress of Leonardo's Milanese employer, Ludovico Sforza. She looks to her left at something out of frame, toward the light, where the biographer Walter Isaacson suggests Ludovico is. Following the marriage of Isabella of Aragon, Duchess of Milan and Gian Galeazzo Sforza, her 'Spanish style' dress would have been particularly fashionable. She has a silk sbernia on over her left shoulder, though Leonardo has simplified the traditional manner of wearing—where it would be draped over both shoulders—potentially to avoid too much complication in the various elements of the painting. Her right shoulder shows an ornately embroidered gold band over a velvet dress. Again, Leonardo has simplified the design, by having the left shoulder band covered by the sbernia, so as to not take away from the animal's detailed head. Her coiffure, known as a coazzone, confines her hair smoothly to her head with two bands of it bound on either side of her face and a long plait at the back. Her hair is held in place by a fine gauze veil with a woven border of gold-wound threads, a black band, and a sheath over the plait.As in many of Leonardo's paintings, the composition comprises a pyramidic spiral and the sitter is caught in the motion of turning to her left, reflecting Leonardo's lifelong preoccupation with the dynamics of movement. The three-quarter profile portrait was one of his many innovations. Il Moro's court poet, Bernardo Bellincioni, was the first to propose that Cecilia was poised as if listening to an unseen speaker. This work in particular shows Leonardo's expertise in painting the human form. The artist painted Cecilia's outstretched hand with a lot of detail, including the shape of each fingernail, the lines around her knuckles, and even the way the tendon in her bent finger moved as it bentA recent study brings to the forefront and supports another so far little-followed hypothesis: the heroic character of Caterina Sforza, the lioness of Romagna, is proposed as being the model of this allegorical representation in which the mental strength and beauty that were attributed to Amazons in mythology.

Prompt: 白貂を抱く貴婦人のヌルに関するレディを説明してください。英語で出力して下さい。

Amazons
Bernardo Bellincioni
Caterina Sforza
Cecilia Gallerani
Gian Galeazzo Sforza
Isabella of Aragon, Duchess of Milan
Ludovico Sforza
Milan
Walter Isaacson


subsection

白貂を抱く貴婦人

The subject has been identified with reasonable certainty as Cecilia Gallerani, the mistress of Leonardo's Milanese employer, Ludovico Sforza. She looks to her left at something out of frame, toward the light, where the biographer Walter Isaacson suggests Ludovico is. Following the marriage of Isabella of Aragon, Duchess of Milan and Gian Galeazzo Sforza, her 'Spanish style' dress would have been particularly fashionable. She has a silk sbernia on over her left shoulder, though Leonardo has simplified the traditional manner of wearing—where it would be draped over both shoulders—potentially to avoid too much complication in the various elements of the painting. Her right shoulder shows an ornately embroidered gold band over a velvet dress. Again, Leonardo has simplified the design, by having the left shoulder band covered by the sbernia, so as to not take away from the animal's detailed head. Her coiffure, known as a coazzone, confines her hair smoothly to her head with two bands of it bound on either side of her face and a long plait at the back. Her hair is held in place by a fine gauze veil with a woven border of gold-wound threads, a black band, and a sheath over the plait.As in many of Leonardo's paintings, the composition comprises a pyramidic spiral and the sitter is caught in the motion of turning to her left, reflecting Leonardo's lifelong preoccupation with the dynamics of movement. The three-quarter profile portrait was one of his many innovations. Il Moro's court poet, Bernardo Bellincioni, was the first to propose that Cecilia was poised as if listening to an unseen speaker. This work in particular shows Leonardo's expertise in painting the human form. The artist painted Cecilia's outstretched hand with a lot of detail, including the shape of each fingernail, the lines around her knuckles, and even the way the tendon in her bent finger moved as it bentA recent study brings to the forefront and supports another so far little-followed hypothesis: the heroic character of Caterina Sforza, the lioness of Romagna, is proposed as being the model of this allegorical representation in which the mental strength and beauty that were attributed to Amazons in mythology.

Prompt: 白貂を抱く貴婦人では、どのようにヌルのレディが説明されていますか？英語で出力して下さい。

Amazons
Bernardo Bellincioni
Caterina Sforza
Cecilia Gallerani
Gian Galeazzo Sforza
Isabella of Aragon, Duchess of Milan
Ludovico Sforza
Milan
Walter Isaacson


subsection

白貂を抱く貴婦人

The subject has been identified with reasonable certainty as Cecilia Gallerani, the mistress of Leonardo's Milanese employer, Ludovico Sforza. She looks to her left at something out of frame, toward the light, where the biographer Walter Isaacson suggests Ludovico is. Following the marriage of Isabella of Aragon, Duchess of Milan and Gian Galeazzo Sforza, her 'Spanish style' dress would have been particularly fashionable. She has a silk sbernia on over her left shoulder, though Leonardo has simplified the traditional manner of wearing—where it would be draped over both shoulders—potentially to avoid too much complication in the various elements of the painting. Her right shoulder shows an ornately embroidered gold band over a velvet dress. Again, Leonardo has simplified the design, by having the left shoulder band covered by the sbernia, so as to not take away from the animal's detailed head. Her coiffure, known as a coazzone, confines her hair smoothly to her head with two bands of it bound on either side of her face and a long plait at the back. Her hair is held in place by a fine gauze veil with a woven border of gold-wound threads, a black band, and a sheath over the plait.As in many of Leonardo's paintings, the composition comprises a pyramidic spiral and the sitter is caught in the motion of turning to her left, reflecting Leonardo's lifelong preoccupation with the dynamics of movement. The three-quarter profile portrait was one of his many innovations. Il Moro's court poet, Bernardo Bellincioni, was the first to propose that Cecilia was poised as if listening to an unseen speaker. This work in particular shows Leonardo's expertise in painting the human form. The artist painted Cecilia's outstretched hand with a lot of detail, including the shape of each fingernail, the lines around her knuckles, and even the way the tendon in her bent finger moved as it bentA recent study brings to the forefront and supports another so far little-followed hypothesis: the heroic character of Caterina Sforza, the lioness of Romagna, is proposed as being the model of this allegorical representation in which the mental strength and beauty that were attributed to Amazons in mythology.

Prompt: 白貂を抱く貴婦人のヌルにおけるレディの特徴を説明してください。英語で出力して下さい。

Amazons
Bernardo Bellincioni
Caterina Sforza
Cecilia Gallerani
Gian Galeazzo Sforza
Isabella of Aragon, Duchess of Milan
Ludovico Sforza
Milan
Walter Isaacson