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カフェ・タンブランの女

Agostina Segatori Sitting in the Café du Tambourin

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

Prompt: カフェ・タンブランの女に関して、どのようにパリのゴッホの影響が議論されていますか？英語で出力して下さい。

Camille Pissarro
Hiroshige
Hokusai
Netherlands
Paul Gauguin


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カフェ・タンブランの女

Agostina Segatori Sitting in the Café du Tambourin

In the painting Agostina, a woman in her forties, can be seen smoking a cigarette while having her second glass of beer, evidenced by two saucers under the mug of beer.  In demeanor and style, such as her clothing, make-up and hairstyle, she is a modern woman. She is wearing a fashionable hat.  According to the style at the time, her jacket is a different design than her dress.  A parasol sits on one of the seats next to her.Van Gogh used the theme of a woman sitting at a small table, introduced by Impressionists, such as Edgar Degas and Édouard Manet. The table and stools were in the shape of tambourines, befitting the café's theme. On the wall behind her are van Gogh's Japanese prints, which he began exhibiting at the café in February 1887.

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


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カフェ・タンブランの女

Agostina Segatori Sitting in the Café du Tambourin

In the painting Agostina, a woman in her forties, can be seen smoking a cigarette while having her second glass of beer, evidenced by two saucers under the mug of beer.  In demeanor and style, such as her clothing, make-up and hairstyle, she is a modern woman. She is wearing a fashionable hat.  According to the style at the time, her jacket is a different design than her dress.  A parasol sits on one of the seats next to her.Van Gogh used the theme of a woman sitting at a small table, introduced by Impressionists, such as Edgar Degas and Édouard Manet. The table and stools were in the shape of tambourines, befitting the café's theme. On the wall behind her are van Gogh's Japanese prints, which he began exhibiting at the café in February 1887.

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


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カフェ・タンブランの女

Agostina Segatori Sitting in the Café du Tambourin

In the painting Agostina, a woman in her forties, can be seen smoking a cigarette while having her second glass of beer, evidenced by two saucers under the mug of beer.  In demeanor and style, such as her clothing, make-up and hairstyle, she is a modern woman. She is wearing a fashionable hat.  According to the style at the time, her jacket is a different design than her dress.  A parasol sits on one of the seats next to her.Van Gogh used the theme of a woman sitting at a small table, introduced by Impressionists, such as Edgar Degas and Édouard Manet. The table and stools were in the shape of tambourines, befitting the café's theme. On the wall behind her are van Gogh's Japanese prints, which he began exhibiting at the café in February 1887.

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


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カフェ・タンブランの女

Agostina Segatori Sitting in the Café du Tambourin

In the painting Agostina, a woman in her forties, can be seen smoking a cigarette while having her second glass of beer, evidenced by two saucers under the mug of beer.  In demeanor and style, such as her clothing, make-up and hairstyle, she is a modern woman. She is wearing a fashionable hat.  According to the style at the time, her jacket is a different design than her dress.  A parasol sits on one of the seats next to her.Van Gogh used the theme of a woman sitting at a small table, introduced by Impressionists, such as Edgar Degas and Édouard Manet. The table and stools were in the shape of tambourines, befitting the café's theme. On the wall behind her are van Gogh's Japanese prints, which he began exhibiting at the café in February 1887.

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


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カフェ・タンブランの女

Van Gogh occasionally visited Café du Tambourin run by Agostina Segatori, the subject of this painting. Previously an artist's model to Manet, Corot and others,The café on the Boulevard de Clichy in Paris was just around the corner from the home that Vincent lived in with his brother Theo. Besides convenience, the restaurant was notable to Van Gogh as a venue for exhibition of his paintings, a practice initiated by artists such as Henri de Toulouse-utrec, Paul-Albert Besnard and others.In 1887 van Gogh had several meals a week at the café which were paid in paintings to adorn the restaurant's walls.  He fell in love with Agostina who was twelve years older. Soon after, though, Agostina and the establishment fell on hard times.  She became ill and the business, in debt and likely involved in illegal prostitution, failed.  Although assured by Agostina that van Gogh could claim his paintings, according to Émile Bernard's recollection, debtors sold them in batches of 10, ranging in price from 50 centimes to one franc per bundle. but also the frames.   Agostina Segatori Sitting in the Café du Tambourin is on display at the Van Gogh Museum in Amsterdam, the Netherlands.

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

Agostina Segatori
Amsterdam
Boulevard de Clichy
Café du Tambourin
Netherlands
Paul-Albert Besnard
Van Gogh Museum


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カフェ・タンブランの女

Van Gogh occasionally visited Café du Tambourin run by Agostina Segatori, the subject of this painting. Previously an artist's model to Manet, Corot and others,The café on the Boulevard de Clichy in Paris was just around the corner from the home that Vincent lived in with his brother Theo. Besides convenience, the restaurant was notable to Van Gogh as a venue for exhibition of his paintings, a practice initiated by artists such as Henri de Toulouse-utrec, Paul-Albert Besnard and others.In 1887 van Gogh had several meals a week at the café which were paid in paintings to adorn the restaurant's walls.  He fell in love with Agostina who was twelve years older. Soon after, though, Agostina and the establishment fell on hard times.  She became ill and the business, in debt and likely involved in illegal prostitution, failed.  Although assured by Agostina that van Gogh could claim his paintings, according to Émile Bernard's recollection, debtors sold them in batches of 10, ranging in price from 50 centimes to one franc per bundle. but also the frames.   Agostina Segatori Sitting in the Café du Tambourin is on display at the Van Gogh Museum in Amsterdam, the Netherlands.

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

Agostina Segatori
Amsterdam
Boulevard de Clichy
Café du Tambourin
Netherlands
Paul-Albert Besnard
Van Gogh Museum


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カフェ・タンブランの女

Van Gogh occasionally visited Café du Tambourin run by Agostina Segatori, the subject of this painting. Previously an artist's model to Manet, Corot and others,The café on the Boulevard de Clichy in Paris was just around the corner from the home that Vincent lived in with his brother Theo. Besides convenience, the restaurant was notable to Van Gogh as a venue for exhibition of his paintings, a practice initiated by artists such as Henri de Toulouse-utrec, Paul-Albert Besnard and others.In 1887 van Gogh had several meals a week at the café which were paid in paintings to adorn the restaurant's walls.  He fell in love with Agostina who was twelve years older. Soon after, though, Agostina and the establishment fell on hard times.  She became ill and the business, in debt and likely involved in illegal prostitution, failed.  Although assured by Agostina that van Gogh could claim his paintings, according to Émile Bernard's recollection, debtors sold them in batches of 10, ranging in price from 50 centimes to one franc per bundle. but also the frames.   Agostina Segatori Sitting in the Café du Tambourin is on display at the Van Gogh Museum in Amsterdam, the Netherlands.

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

Agostina Segatori
Amsterdam
Boulevard de Clichy
Café du Tambourin
Netherlands
Paul-Albert Besnard
Van Gogh Museum


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カフェ・タンブランの女

Van Gogh occasionally visited Café du Tambourin run by Agostina Segatori, the subject of this painting. Previously an artist's model to Manet, Corot and others,The café on the Boulevard de Clichy in Paris was just around the corner from the home that Vincent lived in with his brother Theo. Besides convenience, the restaurant was notable to Van Gogh as a venue for exhibition of his paintings, a practice initiated by artists such as Henri de Toulouse-utrec, Paul-Albert Besnard and others.In 1887 van Gogh had several meals a week at the café which were paid in paintings to adorn the restaurant's walls.  He fell in love with Agostina who was twelve years older. Soon after, though, Agostina and the establishment fell on hard times.  She became ill and the business, in debt and likely involved in illegal prostitution, failed.  Although assured by Agostina that van Gogh could claim his paintings, according to Émile Bernard's recollection, debtors sold them in batches of 10, ranging in price from 50 centimes to one franc per bundle. but also the frames.   Agostina Segatori Sitting in the Café du Tambourin is on display at the Van Gogh Museum in Amsterdam, the Netherlands.

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

Agostina Segatori
Amsterdam
Boulevard de Clichy
Café du Tambourin
Netherlands
Paul-Albert Besnard
Van Gogh Museum


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カフェ・タンブランの女

Agostina Segatori Sitting in the Café du Tambourin

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

List of works by Vincent van Gogh
Vincent van Gogh


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カフェ・タンブランの女

Agostina Segatori Sitting in the Café du Tambourin

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

List of works by Vincent van Gogh
Vincent van Gogh


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カフェ・タンブランの女

Agostina Segatori Sitting in the Café du Tambourin

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

List of works by Vincent van Gogh
Vincent van Gogh


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カフェ・タンブランの女

Agostina Segatori Sitting in the Café du Tambourin

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

List of works by Vincent van Gogh
Vincent van Gogh


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ラ・ムスメ

F431JH1519 medium=Oil on canvas height_metric=73.3 width_metric=60.3 metric_unit=cm imperial_unit=in city=Washington D.C. museum=National Gallery of Art}} Mousmé also known as  Mousmé, Sitting in a Cane Chair, Half-Figure  was painted by Vincent van Gogh in 1888 while living in Arles, which van Gogh dubbed "the Japan of the south".  Retreating from the city, he hoped that his time in Arles would evoke in his work the simple, yet dramatic expression of Japanese art.

Prompt: ラ・ムスメに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Arles
Japanese art
National Gallery of Art
Vincent van Gogh


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ラ・ムスメ

F431JH1519 medium=Oil on canvas height_metric=73.3 width_metric=60.3 metric_unit=cm imperial_unit=in city=Washington D.C. museum=National Gallery of Art}} Mousmé also known as  Mousmé, Sitting in a Cane Chair, Half-Figure  was painted by Vincent van Gogh in 1888 while living in Arles, which van Gogh dubbed "the Japan of the south".  Retreating from the city, he hoped that his time in Arles would evoke in his work the simple, yet dramatic expression of Japanese art.

Prompt: ラ・ムスメの抽象を説明してください。英語で出力して下さい。

Arles
Japanese art
National Gallery of Art
Vincent van Gogh


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ラ・ムスメ

F431JH1519 medium=Oil on canvas height_metric=73.3 width_metric=60.3 metric_unit=cm imperial_unit=in city=Washington D.C. museum=National Gallery of Art}} Mousmé also known as  Mousmé, Sitting in a Cane Chair, Half-Figure  was painted by Vincent van Gogh in 1888 while living in Arles, which van Gogh dubbed "the Japan of the south".  Retreating from the city, he hoped that his time in Arles would evoke in his work the simple, yet dramatic expression of Japanese art.

Prompt: ラ・ムスメ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。

Arles
Japanese art
National Gallery of Art
Vincent van Gogh


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ラ・ムスメ

F431JH1519 medium=Oil on canvas height_metric=73.3 width_metric=60.3 metric_unit=cm imperial_unit=in city=Washington D.C. museum=National Gallery of Art}} Mousmé also known as  Mousmé, Sitting in a Cane Chair, Half-Figure  was painted by Vincent van Gogh in 1888 while living in Arles, which van Gogh dubbed "the Japan of the south".  Retreating from the city, he hoped that his time in Arles would evoke in his work the simple, yet dramatic expression of Japanese art.

Prompt: ラ・ムスメに関して、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。

Arles
Japanese art
National Gallery of Art
Vincent van Gogh


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ラ・ムスメ

At the time that van Gogh painted this portrait he was 35 years old.  Living in Arles in southern France, he was at the height of his career, producing some of his best work. His paintings represented different aspects of ordinary life, such as Harvest at  Crau and this painting,   Mousmé.  The sunflower paintings, some of the most recognizable of van Gogh's paintings, were created in this time.  He worked continuously to keep up with his ideas for paintings.  This is likely one of van Gogh's happier periods of life.  He is confident, clear-minded and seemingly content.A prolific time, in less than 444 days van Gogh made about 100 drawings and produced more than 200 paintings.  Yet, he still found time and energy to write more than 200 letters.  While he painted quickly, mindful of the pace farmers would need to work in the hot sun, he spent time thinking about his paintings long before he put brush to canvas.

Prompt: ラ・ムスメに焦点を当てて、そのゴッホの絶頂期を説明してください。英語で出力して下さい。


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ラ・ムスメ

At the time that van Gogh painted this portrait he was 35 years old.  Living in Arles in southern France, he was at the height of his career, producing some of his best work. His paintings represented different aspects of ordinary life, such as Harvest at  Crau and this painting,   Mousmé.  The sunflower paintings, some of the most recognizable of van Gogh's paintings, were created in this time.  He worked continuously to keep up with his ideas for paintings.  This is likely one of van Gogh's happier periods of life.  He is confident, clear-minded and seemingly content.A prolific time, in less than 444 days van Gogh made about 100 drawings and produced more than 200 paintings.  Yet, he still found time and energy to write more than 200 letters.  While he painted quickly, mindful of the pace farmers would need to work in the hot sun, he spent time thinking about his paintings long before he put brush to canvas.

Prompt: ラ・ムスメのゴッホの絶頂期を説明してください。英語で出力して下さい。


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ラ・ムスメ

At the time that van Gogh painted this portrait he was 35 years old.  Living in Arles in southern France, he was at the height of his career, producing some of his best work. His paintings represented different aspects of ordinary life, such as Harvest at  Crau and this painting,   Mousmé.  The sunflower paintings, some of the most recognizable of van Gogh's paintings, were created in this time.  He worked continuously to keep up with his ideas for paintings.  This is likely one of van Gogh's happier periods of life.  He is confident, clear-minded and seemingly content.A prolific time, in less than 444 days van Gogh made about 100 drawings and produced more than 200 paintings.  Yet, he still found time and energy to write more than 200 letters.  While he painted quickly, mindful of the pace farmers would need to work in the hot sun, he spent time thinking about his paintings long before he put brush to canvas.

Prompt: ラ・ムスメはどのようにゴッホの絶頂期を説明していますか？英語で出力して下さい。


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ラ・ムスメ

At the time that van Gogh painted this portrait he was 35 years old.  Living in Arles in southern France, he was at the height of his career, producing some of his best work. His paintings represented different aspects of ordinary life, such as Harvest at  Crau and this painting,   Mousmé.  The sunflower paintings, some of the most recognizable of van Gogh's paintings, were created in this time.  He worked continuously to keep up with his ideas for paintings.  This is likely one of van Gogh's happier periods of life.  He is confident, clear-minded and seemingly content.A prolific time, in less than 444 days van Gogh made about 100 drawings and produced more than 200 paintings.  Yet, he still found time and energy to write more than 200 letters.  While he painted quickly, mindful of the pace farmers would need to work in the hot sun, he spent time thinking about his paintings long before he put brush to canvas.

Prompt: ラ・ムスメに関して、どのようにゴッホの絶頂期が議論されていますか？英語で出力して下さい。


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ラ・ムスメ

Inspired by Pierre Loti's novel Madame Chrysanthème and Japanese artwork, van Gogh painted   Mousmé, a well-dressed Japanese girl.  He wrote in a letter to his brother: "It took me a whole week...but I had to reserve my mental energy to do the mousmé well. A mousmé is a Japanese girl—Provençal in this case—twelve to fourteen years old."

Prompt: ラ・ムスメに焦点を当てて、その絵画を説明してください。英語で出力して下さい。


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ラ・ムスメ

Inspired by Pierre Loti's novel Madame Chrysanthème and Japanese artwork, van Gogh painted   Mousmé, a well-dressed Japanese girl.  He wrote in a letter to his brother: "It took me a whole week...but I had to reserve my mental energy to do the mousmé well. A mousmé is a Japanese girl—Provençal in this case—twelve to fourteen years old."

Prompt: ラ・ムスメの絵画を説明してください。英語で出力して下さい。


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ラ・ムスメ

Inspired by Pierre Loti's novel Madame Chrysanthème and Japanese artwork, van Gogh painted   Mousmé, a well-dressed Japanese girl.  He wrote in a letter to his brother: "It took me a whole week...but I had to reserve my mental energy to do the mousmé well. A mousmé is a Japanese girl—Provençal in this case—twelve to fourteen years old."

Prompt: ラ・ムスメはどのように絵画を説明していますか？英語で出力して下さい。


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ラ・ムスメ

Inspired by Pierre Loti's novel Madame Chrysanthème and Japanese artwork, van Gogh painted   Mousmé, a well-dressed Japanese girl.  He wrote in a letter to his brother: "It took me a whole week...but I had to reserve my mental energy to do the mousmé well. A mousmé is a Japanese girl—Provençal in this case—twelve to fourteen years old."

Prompt: ラ・ムスメに関して、どのように絵画が議論されていますか？英語で出力して下さい。


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ラ・ムスメ

Johanna van Gogh-Bonger, the artist's sister-in-law, of Amsterdam had the painting until May 1909. Five paintings that were sold by Johanna became part of the National Gallery of Art collection. In May 1909 the painting was sold to J.H. de Bois, an art dealer and director of The Hague branch of the C.M. Van Gogh gallery.  C.M. van Gogh was Vincent's uncle. After May 1909 the painting was sold to Carl Sternheim , German playwright and art collector of Munich.  In 1912 he and his wife moved to  Hulpe, Belgium.  By 1933 Sternheim's work was banned by the Nazis. By 1917 art collector and dealer Alphonse Kann  of Paris, had the painting. J.B. Stang of Oslo had the painting until 1928. On 3 January 1928  Mousmé was sold through Dr. Alfred Gold, an art dealer of Berlin specializing in French paintings, to joint owners Alex Reid and Lefèvre gallery of Glasgow and London and M. Knoedler & Co. of New York, art dealer to some of America's wealthiest individuals. The painting was sold 21 May 1929 through Galerie Étienne Bignou, Paris to Chester Dale  of New York. In 1963 the painting was bequeathed to the National Gallery of Art and placed in the Dale Chester Collection. Chester Dale, as passionate and successful in his art collection as he was on the Wall Street, bequeathed in 1962 some of America's most important collections of French painting from the late 19th and early 20th centuries to the National Gallery of Art.

Prompt: ラ・ムスメに焦点を当てて、その起源を説明してください。英語で出力して下さい。

Alphonse Kann
Amsterdam
Belgium
Berlin
Carl Sternheim
Chester Dale
Glasgow
Johanna van Gogh-Bonger
London
Munich
National Gallery of Art
Oslo
Paris
The Hague
Wall Street


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ラ・ムスメ

Johanna van Gogh-Bonger, the artist's sister-in-law, of Amsterdam had the painting until May 1909. Five paintings that were sold by Johanna became part of the National Gallery of Art collection. In May 1909 the painting was sold to J.H. de Bois, an art dealer and director of The Hague branch of the C.M. Van Gogh gallery.  C.M. van Gogh was Vincent's uncle. After May 1909 the painting was sold to Carl Sternheim , German playwright and art collector of Munich.  In 1912 he and his wife moved to  Hulpe, Belgium.  By 1933 Sternheim's work was banned by the Nazis. By 1917 art collector and dealer Alphonse Kann  of Paris, had the painting. J.B. Stang of Oslo had the painting until 1928. On 3 January 1928  Mousmé was sold through Dr. Alfred Gold, an art dealer of Berlin specializing in French paintings, to joint owners Alex Reid and Lefèvre gallery of Glasgow and London and M. Knoedler & Co. of New York, art dealer to some of America's wealthiest individuals. The painting was sold 21 May 1929 through Galerie Étienne Bignou, Paris to Chester Dale  of New York. In 1963 the painting was bequeathed to the National Gallery of Art and placed in the Dale Chester Collection. Chester Dale, as passionate and successful in his art collection as he was on the Wall Street, bequeathed in 1962 some of America's most important collections of French painting from the late 19th and early 20th centuries to the National Gallery of Art.

Prompt: ラ・ムスメの起源を説明してください。英語で出力して下さい。

Alphonse Kann
Amsterdam
Belgium
Berlin
Carl Sternheim
Chester Dale
Glasgow
Johanna van Gogh-Bonger
London
Munich
National Gallery of Art
Oslo
Paris
The Hague
Wall Street


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ラ・ムスメ

Johanna van Gogh-Bonger, the artist's sister-in-law, of Amsterdam had the painting until May 1909. Five paintings that were sold by Johanna became part of the National Gallery of Art collection. In May 1909 the painting was sold to J.H. de Bois, an art dealer and director of The Hague branch of the C.M. Van Gogh gallery.  C.M. van Gogh was Vincent's uncle. After May 1909 the painting was sold to Carl Sternheim , German playwright and art collector of Munich.  In 1912 he and his wife moved to  Hulpe, Belgium.  By 1933 Sternheim's work was banned by the Nazis. By 1917 art collector and dealer Alphonse Kann  of Paris, had the painting. J.B. Stang of Oslo had the painting until 1928. On 3 January 1928  Mousmé was sold through Dr. Alfred Gold, an art dealer of Berlin specializing in French paintings, to joint owners Alex Reid and Lefèvre gallery of Glasgow and London and M. Knoedler & Co. of New York, art dealer to some of America's wealthiest individuals. The painting was sold 21 May 1929 through Galerie Étienne Bignou, Paris to Chester Dale  of New York. In 1963 the painting was bequeathed to the National Gallery of Art and placed in the Dale Chester Collection. Chester Dale, as passionate and successful in his art collection as he was on the Wall Street, bequeathed in 1962 some of America's most important collections of French painting from the late 19th and early 20th centuries to the National Gallery of Art.

Prompt: ラ・ムスメ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。

Alphonse Kann
Amsterdam
Belgium
Berlin
Carl Sternheim
Chester Dale
Glasgow
Johanna van Gogh-Bonger
London
Munich
National Gallery of Art
Oslo
Paris
The Hague
Wall Street


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ラ・ムスメ

Johanna van Gogh-Bonger, the artist's sister-in-law, of Amsterdam had the painting until May 1909. Five paintings that were sold by Johanna became part of the National Gallery of Art collection. In May 1909 the painting was sold to J.H. de Bois, an art dealer and director of The Hague branch of the C.M. Van Gogh gallery.  C.M. van Gogh was Vincent's uncle. After May 1909 the painting was sold to Carl Sternheim , German playwright and art collector of Munich.  In 1912 he and his wife moved to  Hulpe, Belgium.  By 1933 Sternheim's work was banned by the Nazis. By 1917 art collector and dealer Alphonse Kann  of Paris, had the painting. J.B. Stang of Oslo had the painting until 1928. On 3 January 1928  Mousmé was sold through Dr. Alfred Gold, an art dealer of Berlin specializing in French paintings, to joint owners Alex Reid and Lefèvre gallery of Glasgow and London and M. Knoedler & Co. of New York, art dealer to some of America's wealthiest individuals. The painting was sold 21 May 1929 through Galerie Étienne Bignou, Paris to Chester Dale  of New York. In 1963 the painting was bequeathed to the National Gallery of Art and placed in the Dale Chester Collection. Chester Dale, as passionate and successful in his art collection as he was on the Wall Street, bequeathed in 1962 some of America's most important collections of French painting from the late 19th and early 20th centuries to the National Gallery of Art.

Prompt: ラ・ムスメに関して、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。

Alphonse Kann
Amsterdam
Belgium
Berlin
Carl Sternheim
Chester Dale
Glasgow
Johanna van Gogh-Bonger
London
Munich
National Gallery of Art
Oslo
Paris
The Hague
Wall Street


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ラ・ムスメ

There are several drawings for this painting: A portrait sketch, Sitting  Mousmé, is located at the Louvre, Paris, France.  Mousmé, Half-Figure in the Collection of Thomas Gibson Fine Art, London, United Kingdom, Europe  Mousmé, Sitting located in Pushkin Museum, Moscow, Russia.

Prompt: ラ・ムスメに焦点を当てて、そのラ・ムスメを説明してください。英語で出力して下さい。


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ラ・ムスメ

There are several drawings for this painting: A portrait sketch, Sitting  Mousmé, is located at the Louvre, Paris, France.  Mousmé, Half-Figure in the Collection of Thomas Gibson Fine Art, London, United Kingdom, Europe  Mousmé, Sitting located in Pushkin Museum, Moscow, Russia.

Prompt: ラ・ムスメのラ・ムスメを説明してください。英語で出力して下さい。


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ラ・ムスメ

There are several drawings for this painting: A portrait sketch, Sitting  Mousmé, is located at the Louvre, Paris, France.  Mousmé, Half-Figure in the Collection of Thomas Gibson Fine Art, London, United Kingdom, Europe  Mousmé, Sitting located in Pushkin Museum, Moscow, Russia.

Prompt: ラ・ムスメはどのようにラ・ムスメを説明していますか？英語で出力して下さい。


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ラ・ムスメ

There are several drawings for this painting: A portrait sketch, Sitting  Mousmé, is located at the Louvre, Paris, France.  Mousmé, Half-Figure in the Collection of Thomas Gibson Fine Art, London, United Kingdom, Europe  Mousmé, Sitting located in Pushkin Museum, Moscow, Russia.

Prompt: ラ・ムスメに関して、どのようにラ・ムスメが議論されていますか？英語で出力して下さい。


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ラ・ムスメ

Prompt: ラ・ムスメに焦点を当てて、その参照を説明してください。英語で出力して下さい。

List of works by Vincent van Gogh
Vincent van Gogh


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ラ・ムスメ

Prompt: ラ・ムスメの参照を説明してください。英語で出力して下さい。

List of works by Vincent van Gogh
Vincent van Gogh


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ラ・ムスメ

Prompt: ラ・ムスメはどのように参照を説明していますか？英語で出力して下さい。

List of works by Vincent van Gogh
Vincent van Gogh


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ラ・ムスメ

Prompt: ラ・ムスメに関して、どのように参照が議論されていますか？英語で出力して下さい。

List of works by Vincent van Gogh
Vincent van Gogh


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クラリッサ・ストロッツィの肖像

Portrait of Clarissa Strozzi is a portrait by the Italian painter Titian from 1542 belonging to the Gemäldegalerie in Berlin.The painting depicts a girl from the old Florentine family of Strozzi. The girl seems slightly frightened and holds onto her little Phalene dog. By some it is considered an example of one of the most beautiful child portraits in the world thanks to colouring and specifically the combination of colours carmine red, blue and golden yellow. This canvas is considered an inspiration for similar paintings by Anthony van Dyck.

Prompt: クラリッサ・ストロッツィの肖像に焦点を当てて、その抽象を説明してください。英語で出力して下さい。


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クラリッサ・ストロッツィの肖像

Portrait of Clarissa Strozzi is a portrait by the Italian painter Titian from 1542 belonging to the Gemäldegalerie in Berlin.The painting depicts a girl from the old Florentine family of Strozzi. The girl seems slightly frightened and holds onto her little Phalene dog. By some it is considered an example of one of the most beautiful child portraits in the world thanks to colouring and specifically the combination of colours carmine red, blue and golden yellow. This canvas is considered an inspiration for similar paintings by Anthony van Dyck.

Prompt: クラリッサ・ストロッツィの肖像の抽象を説明してください。英語で出力して下さい。


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クラリッサ・ストロッツィの肖像

Portrait of Clarissa Strozzi is a portrait by the Italian painter Titian from 1542 belonging to the Gemäldegalerie in Berlin.The painting depicts a girl from the old Florentine family of Strozzi. The girl seems slightly frightened and holds onto her little Phalene dog. By some it is considered an example of one of the most beautiful child portraits in the world thanks to colouring and specifically the combination of colours carmine red, blue and golden yellow. This canvas is considered an inspiration for similar paintings by Anthony van Dyck.

Prompt: クラリッサ・ストロッツィの肖像はどのように抽象を説明していますか？英語で出力して下さい。


section

クラリッサ・ストロッツィの肖像

Portrait of Clarissa Strozzi is a portrait by the Italian painter Titian from 1542 belonging to the Gemäldegalerie in Berlin.The painting depicts a girl from the old Florentine family of Strozzi. The girl seems slightly frightened and holds onto her little Phalene dog. By some it is considered an example of one of the most beautiful child portraits in the world thanks to colouring and specifically the combination of colours carmine red, blue and golden yellow. This canvas is considered an inspiration for similar paintings by Anthony van Dyck.

Prompt: クラリッサ・ストロッツィの肖像に関して、どのように抽象が議論されていますか？英語で出力して下さい。


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クラリッサ・ストロッツィの肖像

Prompt: クラリッサ・ストロッツィの肖像に焦点を当てて、その参照を説明してください。英語で出力して下さい。


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クラリッサ・ストロッツィの肖像

Prompt: クラリッサ・ストロッツィの肖像の参照を説明してください。英語で出力して下さい。


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クラリッサ・ストロッツィの肖像

Prompt: クラリッサ・ストロッツィの肖像はどのように参照を説明していますか？英語で出力して下さい。


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クラリッサ・ストロッツィの肖像

Prompt: クラリッサ・ストロッツィの肖像に関して、どのように参照が議論されていますか？英語で出力して下さい。


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クラリッサ・ストロッツィの肖像

R. Bergerhoff, Tycjan, Warszawa: Arkady, 1979. HPS, 2007, . W. Mole, Tycjan, Warszawa: Arkady, 1958Strozzi, ClarissaCategory:1542 paintingsCategory:Dogs in paintings by Titian

Prompt: クラリッサ・ストロッツィの肖像に焦点を当てて、その参考文献を説明してください。英語で出力して下さい。


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クラリッサ・ストロッツィの肖像

R. Bergerhoff, Tycjan, Warszawa: Arkady, 1979. HPS, 2007, . W. Mole, Tycjan, Warszawa: Arkady, 1958Strozzi, ClarissaCategory:1542 paintingsCategory:Dogs in paintings by Titian

Prompt: クラリッサ・ストロッツィの肖像の参考文献を説明してください。英語で出力して下さい。


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クラリッサ・ストロッツィの肖像

R. Bergerhoff, Tycjan, Warszawa: Arkady, 1979. HPS, 2007, . W. Mole, Tycjan, Warszawa: Arkady, 1958Strozzi, ClarissaCategory:1542 paintingsCategory:Dogs in paintings by Titian

Prompt: クラリッサ・ストロッツィの肖像はどのように参考文献を説明していますか？英語で出力して下さい。


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クラリッサ・ストロッツィの肖像

R. Bergerhoff, Tycjan, Warszawa: Arkady, 1979. HPS, 2007, . W. Mole, Tycjan, Warszawa: Arkady, 1958Strozzi, ClarissaCategory:1542 paintingsCategory:Dogs in paintings by Titian

Prompt: クラリッサ・ストロッツィの肖像に関して、どのように参考文献が議論されていますか？英語で出力して下さい。


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サンタ・マリア・イン・ポルトの祭壇画

The Santa Maria in Porto Altarpiece  is a painting by the Italian Renaissance painter Ercole de' Roberti, executed in 1479-1481 and housed in the Pinacoteca di Brera, Milan, northern Italy.It was executed for the church of Santa Maria in Porto, just outside Ravenna. In the 16th century it was moved to the church St. Francis in the same city but, after the Napoleonic invasion of Italy, it was then moved to Milan, being housed at Brera since 1811.

Prompt: サンタ・マリア・イン・ポルトの祭壇画に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Ercole de' Roberti
Milan
Pinacoteca di Brera
Ravenna


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サンタ・マリア・イン・ポルトの祭壇画

The Santa Maria in Porto Altarpiece  is a painting by the Italian Renaissance painter Ercole de' Roberti, executed in 1479-1481 and housed in the Pinacoteca di Brera, Milan, northern Italy.It was executed for the church of Santa Maria in Porto, just outside Ravenna. In the 16th century it was moved to the church St. Francis in the same city but, after the Napoleonic invasion of Italy, it was then moved to Milan, being housed at Brera since 1811.

Prompt: サンタ・マリア・イン・ポルトの祭壇画の抽象を説明してください。英語で出力して下さい。

Ercole de' Roberti
Milan
Pinacoteca di Brera
Ravenna


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サンタ・マリア・イン・ポルトの祭壇画

The Santa Maria in Porto Altarpiece  is a painting by the Italian Renaissance painter Ercole de' Roberti, executed in 1479-1481 and housed in the Pinacoteca di Brera, Milan, northern Italy.It was executed for the church of Santa Maria in Porto, just outside Ravenna. In the 16th century it was moved to the church St. Francis in the same city but, after the Napoleonic invasion of Italy, it was then moved to Milan, being housed at Brera since 1811.

Prompt: サンタ・マリア・イン・ポルトの祭壇画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。

Ercole de' Roberti
Milan
Pinacoteca di Brera
Ravenna


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サンタ・マリア・イン・ポルトの祭壇画

The Santa Maria in Porto Altarpiece  is a painting by the Italian Renaissance painter Ercole de' Roberti, executed in 1479-1481 and housed in the Pinacoteca di Brera, Milan, northern Italy.It was executed for the church of Santa Maria in Porto, just outside Ravenna. In the 16th century it was moved to the church St. Francis in the same city but, after the Napoleonic invasion of Italy, it was then moved to Milan, being housed at Brera since 1811.

Prompt: サンタ・マリア・イン・ポルトの祭壇画に関して、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。

Ercole de' Roberti
Milan
Pinacoteca di Brera
Ravenna


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サンタ・マリア・イン・ポルトの祭壇画

The painting features a mainly vertical architectural setting, under which a high octagonal podium with the Virgin's throne. The base is decorated by tiles  which simulated antique bas-reliefs and were inspired by the altar of the Basilica of Saint Anthony of Padua by Donatello.The base supports columns with mouldings and decorations of garlands, dishes and marble rings, while in the background is a stormy sea. The latter is a reference to the legendary foundation of Santa Maria in Porto, when the Crusader Pietro degli Onesti, after escaping a shipwreck, made a vow to entitle a church to the Virgin Mary in exchange for his miraculous salvation.The throne is enclosed in a niche with reliefs, and stands on a carpet. At the sides are red curtains. The four saints are St. Augustine, the blessed Pietro , St. Elizabeth and St. Anne .The whole composition is an example of the pyramidal structure introduced by Antonello da Messina in the Holy Conversation scheme after 1475.

Prompt: サンタ・マリア・イン・ポルトの祭壇画に焦点を当てて、その説明を説明してください。英語で出力して下さい。

Antonello da Messina
Basilica of Saint Anthony of Padua
Donatello


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サンタ・マリア・イン・ポルトの祭壇画

The painting features a mainly vertical architectural setting, under which a high octagonal podium with the Virgin's throne. The base is decorated by tiles  which simulated antique bas-reliefs and were inspired by the altar of the Basilica of Saint Anthony of Padua by Donatello.The base supports columns with mouldings and decorations of garlands, dishes and marble rings, while in the background is a stormy sea. The latter is a reference to the legendary foundation of Santa Maria in Porto, when the Crusader Pietro degli Onesti, after escaping a shipwreck, made a vow to entitle a church to the Virgin Mary in exchange for his miraculous salvation.The throne is enclosed in a niche with reliefs, and stands on a carpet. At the sides are red curtains. The four saints are St. Augustine, the blessed Pietro , St. Elizabeth and St. Anne .The whole composition is an example of the pyramidal structure introduced by Antonello da Messina in the Holy Conversation scheme after 1475.

Prompt: サンタ・マリア・イン・ポルトの祭壇画の説明を説明してください。英語で出力して下さい。

Antonello da Messina
Basilica of Saint Anthony of Padua
Donatello


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サンタ・マリア・イン・ポルトの祭壇画

The painting features a mainly vertical architectural setting, under which a high octagonal podium with the Virgin's throne. The base is decorated by tiles  which simulated antique bas-reliefs and were inspired by the altar of the Basilica of Saint Anthony of Padua by Donatello.The base supports columns with mouldings and decorations of garlands, dishes and marble rings, while in the background is a stormy sea. The latter is a reference to the legendary foundation of Santa Maria in Porto, when the Crusader Pietro degli Onesti, after escaping a shipwreck, made a vow to entitle a church to the Virgin Mary in exchange for his miraculous salvation.The throne is enclosed in a niche with reliefs, and stands on a carpet. At the sides are red curtains. The four saints are St. Augustine, the blessed Pietro , St. Elizabeth and St. Anne .The whole composition is an example of the pyramidal structure introduced by Antonello da Messina in the Holy Conversation scheme after 1475.

Prompt: サンタ・マリア・イン・ポルトの祭壇画はどのように説明を説明していますか？英語で出力して下さい。

Antonello da Messina
Basilica of Saint Anthony of Padua
Donatello


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サンタ・マリア・イン・ポルトの祭壇画

The painting features a mainly vertical architectural setting, under which a high octagonal podium with the Virgin's throne. The base is decorated by tiles  which simulated antique bas-reliefs and were inspired by the altar of the Basilica of Saint Anthony of Padua by Donatello.The base supports columns with mouldings and decorations of garlands, dishes and marble rings, while in the background is a stormy sea. The latter is a reference to the legendary foundation of Santa Maria in Porto, when the Crusader Pietro degli Onesti, after escaping a shipwreck, made a vow to entitle a church to the Virgin Mary in exchange for his miraculous salvation.The throne is enclosed in a niche with reliefs, and stands on a carpet. At the sides are red curtains. The four saints are St. Augustine, the blessed Pietro , St. Elizabeth and St. Anne .The whole composition is an example of the pyramidal structure introduced by Antonello da Messina in the Holy Conversation scheme after 1475.

Prompt: サンタ・マリア・イン・ポルトの祭壇画に関して、どのように説明が議論されていますか？英語で出力して下さい。

Antonello da Messina
Basilica of Saint Anthony of Padua
Donatello


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賢者の石を探す錬金術師

height_metric      = 127 width_metric       = 101.6 length_metric      = height_imperial    = width_imperial      = length_imperial    = diameter_metric    = diameter_imperial  = dimensions         = metric_unit        = cm imperial_unit      = in city               = Derby museum             = Derby Museum and Art Gallery coordinates        =  owner              =}}The Alchemist Discovering Phosphorus is a painting by Joseph Wright of Derby originally completed in 1771 then reworked in 1795. The full title of the painting is The Alchymist, in Search of the Philosopher's Stone, Discovers Phosphorus, and prays for the successful Conclusion of his operation, as was the custom of the Ancient Chymical Astrologers. It has been suggested that The Alchymist refers to the discovery of phosphorus by the Hamburg alchemist Hennig Brand in 1669. This story was often printed in popular chemical books in Wright's lifetime, and was widely known.

Prompt: 賢者の石を探す錬金術師に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Derby
Hamburg
Hennig Brand
Joseph Wright of Derby
Phosphorus


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賢者の石を探す錬金術師

height_metric      = 127 width_metric       = 101.6 length_metric      = height_imperial    = width_imperial      = length_imperial    = diameter_metric    = diameter_imperial  = dimensions         = metric_unit        = cm imperial_unit      = in city               = Derby museum             = Derby Museum and Art Gallery coordinates        =  owner              =}}The Alchemist Discovering Phosphorus is a painting by Joseph Wright of Derby originally completed in 1771 then reworked in 1795. The full title of the painting is The Alchymist, in Search of the Philosopher's Stone, Discovers Phosphorus, and prays for the successful Conclusion of his operation, as was the custom of the Ancient Chymical Astrologers. It has been suggested that The Alchymist refers to the discovery of phosphorus by the Hamburg alchemist Hennig Brand in 1669. This story was often printed in popular chemical books in Wright's lifetime, and was widely known.

Prompt: 賢者の石を探す錬金術師の抽象を説明してください。英語で出力して下さい。

Derby
Hamburg
Hennig Brand
Joseph Wright of Derby
Phosphorus


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賢者の石を探す錬金術師

height_metric      = 127 width_metric       = 101.6 length_metric      = height_imperial    = width_imperial      = length_imperial    = diameter_metric    = diameter_imperial  = dimensions         = metric_unit        = cm imperial_unit      = in city               = Derby museum             = Derby Museum and Art Gallery coordinates        =  owner              =}}The Alchemist Discovering Phosphorus is a painting by Joseph Wright of Derby originally completed in 1771 then reworked in 1795. The full title of the painting is The Alchymist, in Search of the Philosopher's Stone, Discovers Phosphorus, and prays for the successful Conclusion of his operation, as was the custom of the Ancient Chymical Astrologers. It has been suggested that The Alchymist refers to the discovery of phosphorus by the Hamburg alchemist Hennig Brand in 1669. This story was often printed in popular chemical books in Wright's lifetime, and was widely known.

Prompt: 賢者の石を探す錬金術師はどのように抽象を説明していますか？英語で出力して下さい。

Derby
Hamburg
Hennig Brand
Joseph Wright of Derby
Phosphorus


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賢者の石を探す錬金術師

height_metric      = 127 width_metric       = 101.6 length_metric      = height_imperial    = width_imperial      = length_imperial    = diameter_metric    = diameter_imperial  = dimensions         = metric_unit        = cm imperial_unit      = in city               = Derby museum             = Derby Museum and Art Gallery coordinates        =  owner              =}}The Alchemist Discovering Phosphorus is a painting by Joseph Wright of Derby originally completed in 1771 then reworked in 1795. The full title of the painting is The Alchymist, in Search of the Philosopher's Stone, Discovers Phosphorus, and prays for the successful Conclusion of his operation, as was the custom of the Ancient Chymical Astrologers. It has been suggested that The Alchymist refers to the discovery of phosphorus by the Hamburg alchemist Hennig Brand in 1669. This story was often printed in popular chemical books in Wright's lifetime, and was widely known.

Prompt: 賢者の石を探す錬金術師に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Derby
Hamburg
Hennig Brand
Joseph Wright of Derby
Phosphorus


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賢者の石を探す錬金術師

The picture shows the alchemist trying to produce the elusive Philosopher's stone, which could turn ordinary metal into gold, but instead, to his amazement, he discovers phosphorus. However, Wright does not picture the alchemist in a 17th-century background, but he romanticises the room by imagining medieval gothic arches and high, pointed windows as if he is in a church. He also gave a very favourable impression of the actual process, which involves the reduction by boiling of urine. A 1730 description of the manufacture of phosphorus described the need for 50 or 60 pails of urine that was both putrid and "bred worms".uprightWright also gives religious connotations to the painting. The alchemist kneels in front of a shining vessel, stretching out his hands in a similar gesture to that used by El Greco when painting St Francis receiving the Stigmata or St Jerome in Prayer. Benedict Nicolson compares his posture to that of one of Christ's disciples receiving communion. He believes that the layout of the painting may have been taken from Thomas Wijck's painting  of an alchemist, which also contains similar vaulting, a confusion of objects and a similar assistant who is singled out by the light. This painting from the previous century was on display in London during Wright's lifetime. However, it is clear from a sketch by Wright's companion, Peter Perez Burdett, that he had a strong influence on the design. His sketch of 4 February 1771 shows the vaulting and the layout of the painting, with the glass container as its focus. It is Burdett who says where to place the figure in the painting, and Burdett had already referred Wright to Matthew Turner so that Wright might fully understand the underlying science in the painting.

Prompt: 賢者の石を探す錬金術師に焦点を当てて、その説明を説明してください。英語で出力して下さい。

Benedict Nicolson
El Greco
Peter Perez Burdett
Philosopher's stone
Thomas Wijck


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賢者の石を探す錬金術師

The picture shows the alchemist trying to produce the elusive Philosopher's stone, which could turn ordinary metal into gold, but instead, to his amazement, he discovers phosphorus. However, Wright does not picture the alchemist in a 17th-century background, but he romanticises the room by imagining medieval gothic arches and high, pointed windows as if he is in a church. He also gave a very favourable impression of the actual process, which involves the reduction by boiling of urine. A 1730 description of the manufacture of phosphorus described the need for 50 or 60 pails of urine that was both putrid and "bred worms".uprightWright also gives religious connotations to the painting. The alchemist kneels in front of a shining vessel, stretching out his hands in a similar gesture to that used by El Greco when painting St Francis receiving the Stigmata or St Jerome in Prayer. Benedict Nicolson compares his posture to that of one of Christ's disciples receiving communion. He believes that the layout of the painting may have been taken from Thomas Wijck's painting  of an alchemist, which also contains similar vaulting, a confusion of objects and a similar assistant who is singled out by the light. This painting from the previous century was on display in London during Wright's lifetime. However, it is clear from a sketch by Wright's companion, Peter Perez Burdett, that he had a strong influence on the design. His sketch of 4 February 1771 shows the vaulting and the layout of the painting, with the glass container as its focus. It is Burdett who says where to place the figure in the painting, and Burdett had already referred Wright to Matthew Turner so that Wright might fully understand the underlying science in the painting.

Prompt: 賢者の石を探す錬金術師の説明を説明してください。英語で出力して下さい。

Benedict Nicolson
El Greco
Peter Perez Burdett
Philosopher's stone
Thomas Wijck


section

賢者の石を探す錬金術師

The picture shows the alchemist trying to produce the elusive Philosopher's stone, which could turn ordinary metal into gold, but instead, to his amazement, he discovers phosphorus. However, Wright does not picture the alchemist in a 17th-century background, but he romanticises the room by imagining medieval gothic arches and high, pointed windows as if he is in a church. He also gave a very favourable impression of the actual process, which involves the reduction by boiling of urine. A 1730 description of the manufacture of phosphorus described the need for 50 or 60 pails of urine that was both putrid and "bred worms".uprightWright also gives religious connotations to the painting. The alchemist kneels in front of a shining vessel, stretching out his hands in a similar gesture to that used by El Greco when painting St Francis receiving the Stigmata or St Jerome in Prayer. Benedict Nicolson compares his posture to that of one of Christ's disciples receiving communion. He believes that the layout of the painting may have been taken from Thomas Wijck's painting  of an alchemist, which also contains similar vaulting, a confusion of objects and a similar assistant who is singled out by the light. This painting from the previous century was on display in London during Wright's lifetime. However, it is clear from a sketch by Wright's companion, Peter Perez Burdett, that he had a strong influence on the design. His sketch of 4 February 1771 shows the vaulting and the layout of the painting, with the glass container as its focus. It is Burdett who says where to place the figure in the painting, and Burdett had already referred Wright to Matthew Turner so that Wright might fully understand the underlying science in the painting.

Prompt: 賢者の石を探す錬金術師はどのように説明を説明していますか？英語で出力して下さい。

Benedict Nicolson
El Greco
Peter Perez Burdett
Philosopher's stone
Thomas Wijck


section

賢者の石を探す錬金術師

The picture shows the alchemist trying to produce the elusive Philosopher's stone, which could turn ordinary metal into gold, but instead, to his amazement, he discovers phosphorus. However, Wright does not picture the alchemist in a 17th-century background, but he romanticises the room by imagining medieval gothic arches and high, pointed windows as if he is in a church. He also gave a very favourable impression of the actual process, which involves the reduction by boiling of urine. A 1730 description of the manufacture of phosphorus described the need for 50 or 60 pails of urine that was both putrid and "bred worms".uprightWright also gives religious connotations to the painting. The alchemist kneels in front of a shining vessel, stretching out his hands in a similar gesture to that used by El Greco when painting St Francis receiving the Stigmata or St Jerome in Prayer. Benedict Nicolson compares his posture to that of one of Christ's disciples receiving communion. He believes that the layout of the painting may have been taken from Thomas Wijck's painting  of an alchemist, which also contains similar vaulting, a confusion of objects and a similar assistant who is singled out by the light. This painting from the previous century was on display in London during Wright's lifetime. However, it is clear from a sketch by Wright's companion, Peter Perez Burdett, that he had a strong influence on the design. His sketch of 4 February 1771 shows the vaulting and the layout of the painting, with the glass container as its focus. It is Burdett who says where to place the figure in the painting, and Burdett had already referred Wright to Matthew Turner so that Wright might fully understand the underlying science in the painting.

Prompt: 賢者の石を探す錬金術師に関して、どのように説明が議論されていますか？英語で出力して下さい。

Benedict Nicolson
El Greco
Peter Perez Burdett
Philosopher's stone
Thomas Wijck


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賢者の石を探す錬金術師

Since its exhibition in 1771, the picture has provoked many contradictory interpretations. Its mystery disturbed 18th-century viewers, and although Wright was an internationally recognised artist, the painting was not sold when he first exhibited it. The picture travelled with Wright to Italy in 1773–1775, came back to England, was reworked in 1795, but was only sold four years after his death, when his possessions were auctioned at Christie's.

Prompt: 賢者の石を探す錬金術師に焦点を当てて、その歴史を説明してください。英語で出力して下さい。


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賢者の石を探す錬金術師

Since its exhibition in 1771, the picture has provoked many contradictory interpretations. Its mystery disturbed 18th-century viewers, and although Wright was an internationally recognised artist, the painting was not sold when he first exhibited it. The picture travelled with Wright to Italy in 1773–1775, came back to England, was reworked in 1795, but was only sold four years after his death, when his possessions were auctioned at Christie's.

Prompt: 賢者の石を探す錬金術師の歴史を説明してください。英語で出力して下さい。


section

賢者の石を探す錬金術師

Since its exhibition in 1771, the picture has provoked many contradictory interpretations. Its mystery disturbed 18th-century viewers, and although Wright was an internationally recognised artist, the painting was not sold when he first exhibited it. The picture travelled with Wright to Italy in 1773–1775, came back to England, was reworked in 1795, but was only sold four years after his death, when his possessions were auctioned at Christie's.

Prompt: 賢者の石を探す錬金術師はどのように歴史を説明していますか？英語で出力して下さい。


section

賢者の石を探す錬金術師

Since its exhibition in 1771, the picture has provoked many contradictory interpretations. Its mystery disturbed 18th-century viewers, and although Wright was an internationally recognised artist, the painting was not sold when he first exhibited it. The picture travelled with Wright to Italy in 1773–1775, came back to England, was reworked in 1795, but was only sold four years after his death, when his possessions were auctioned at Christie's.

Prompt: 賢者の石を探す錬金術師に関して、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。


section

反逆者たちの懲罰

alt=ndscape view of the Arch of Constantine across the Campus Martius with the via Sacra behind with trees and the Caelian Hill rising on the left and the Palatine Hill on the right.The Punishment of the Sons of Korah or Punishment of the Rebels is a fresco by the Italian Renaissance painter Sandro Botticelli, executed in 1480–1482 in the Sistine Chapel, Rome.

Prompt: 反逆者たちの懲罰に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Arch of Constantine
Korah
Rome
Sandro Botticelli
Sistine Chapel


section

反逆者たちの懲罰

alt=ndscape view of the Arch of Constantine across the Campus Martius with the via Sacra behind with trees and the Caelian Hill rising on the left and the Palatine Hill on the right.The Punishment of the Sons of Korah or Punishment of the Rebels is a fresco by the Italian Renaissance painter Sandro Botticelli, executed in 1480–1482 in the Sistine Chapel, Rome.

Prompt: 反逆者たちの懲罰の抽象を説明してください。英語で出力して下さい。

Arch of Constantine
Korah
Rome
Sandro Botticelli
Sistine Chapel


section

反逆者たちの懲罰

alt=ndscape view of the Arch of Constantine across the Campus Martius with the via Sacra behind with trees and the Caelian Hill rising on the left and the Palatine Hill on the right.The Punishment of the Sons of Korah or Punishment of the Rebels is a fresco by the Italian Renaissance painter Sandro Botticelli, executed in 1480–1482 in the Sistine Chapel, Rome.

Prompt: 反逆者たちの懲罰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。

Arch of Constantine
Korah
Rome
Sandro Botticelli
Sistine Chapel


section

反逆者たちの懲罰

alt=ndscape view of the Arch of Constantine across the Campus Martius with the via Sacra behind with trees and the Caelian Hill rising on the left and the Palatine Hill on the right.The Punishment of the Sons of Korah or Punishment of the Rebels is a fresco by the Italian Renaissance painter Sandro Botticelli, executed in 1480–1482 in the Sistine Chapel, Rome.

Prompt: 反逆者たちの懲罰に関して、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。

Arch of Constantine
Korah
Rome
Sandro Botticelli
Sistine Chapel


section

反逆者たちの懲罰

On 27 October 1480 Botticelli, together with other Florentine painters, left for Rome, where he had been called as part of the reconciliation project between Lorenzo de' Medici, the de facto ruler of Florence, and Pope Sixtus IV. The Florentines started to work in the Sistine Chapel as early as spring 1481, along with Pietro Perugino, who was already there.The theme of the decoration was a parallel between the lives of Moses and Christ, as a sign of continuity between the Old and the New Testament. A continuity also between Mosaic w and the message of Jesus, who in turn chose Peter  as his successor;  the latter's successors were the popes of Rome.Botticelli painted three scenes, helped by numerous assistants. On 17 February 1482 his contract was renewed, including the other scenes to complete the chapel's decoration. However, on the 20th of the same month, his father died: he returned to Florence, where he remained.

Prompt: 反逆者たちの懲罰に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Jesus
Jesus
Lorenzo de' Medici
Moses
New Testament
Pietro Perugino
Pope
Pope Sixtus IV
Rome
Sistine Chapel


section

反逆者たちの懲罰

On 27 October 1480 Botticelli, together with other Florentine painters, left for Rome, where he had been called as part of the reconciliation project between Lorenzo de' Medici, the de facto ruler of Florence, and Pope Sixtus IV. The Florentines started to work in the Sistine Chapel as early as spring 1481, along with Pietro Perugino, who was already there.The theme of the decoration was a parallel between the lives of Moses and Christ, as a sign of continuity between the Old and the New Testament. A continuity also between Mosaic w and the message of Jesus, who in turn chose Peter  as his successor;  the latter's successors were the popes of Rome.Botticelli painted three scenes, helped by numerous assistants. On 17 February 1482 his contract was renewed, including the other scenes to complete the chapel's decoration. However, on the 20th of the same month, his father died: he returned to Florence, where he remained.

Prompt: 反逆者たちの懲罰の歴史を説明してください。英語で出力して下さい。

Jesus
Jesus
Lorenzo de' Medici
Moses
New Testament
Pietro Perugino
Pope
Pope Sixtus IV
Rome
Sistine Chapel


section

反逆者たちの懲罰

On 27 October 1480 Botticelli, together with other Florentine painters, left for Rome, where he had been called as part of the reconciliation project between Lorenzo de' Medici, the de facto ruler of Florence, and Pope Sixtus IV. The Florentines started to work in the Sistine Chapel as early as spring 1481, along with Pietro Perugino, who was already there.The theme of the decoration was a parallel between the lives of Moses and Christ, as a sign of continuity between the Old and the New Testament. A continuity also between Mosaic w and the message of Jesus, who in turn chose Peter  as his successor;  the latter's successors were the popes of Rome.Botticelli painted three scenes, helped by numerous assistants. On 17 February 1482 his contract was renewed, including the other scenes to complete the chapel's decoration. However, on the 20th of the same month, his father died: he returned to Florence, where he remained.

Prompt: 反逆者たちの懲罰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。

Jesus
Jesus
Lorenzo de' Medici
Moses
New Testament
Pietro Perugino
Pope
Pope Sixtus IV
Rome
Sistine Chapel


section

反逆者たちの懲罰

On 27 October 1480 Botticelli, together with other Florentine painters, left for Rome, where he had been called as part of the reconciliation project between Lorenzo de' Medici, the de facto ruler of Florence, and Pope Sixtus IV. The Florentines started to work in the Sistine Chapel as early as spring 1481, along with Pietro Perugino, who was already there.The theme of the decoration was a parallel between the lives of Moses and Christ, as a sign of continuity between the Old and the New Testament. A continuity also between Mosaic w and the message of Jesus, who in turn chose Peter  as his successor;  the latter's successors were the popes of Rome.Botticelli painted three scenes, helped by numerous assistants. On 17 February 1482 his contract was renewed, including the other scenes to complete the chapel's decoration. However, on the 20th of the same month, his father died: he returned to Florence, where he remained.

Prompt: 反逆者たちの懲罰に関して、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。

Jesus
Jesus
Lorenzo de' Medici
Moses
New Testament
Pietro Perugino
Pope
Pope Sixtus IV
Rome
Sistine Chapel


section

反逆者たちの懲罰

The painting depicts three episodes and tells of a rebellion by the Israelites against Moses and Aaron. On the right the rebels attempt to stone Moses after becoming disenchanted by their trials on their emigration from Egypt. Joshua has placed himself between the rebels and Moses, protecting him from the stoning. The center scene shows the rebellion with Korah and the conspirators being driven out by Moses and Aaron, as high priest wearing the papal tiara. Moses is presented with rays of light. To the left, the ground opens and the two principal conspirators sink into it. The children of Korah are spared the fate of their father.The painting is framed by golden faux-architecture with an inscribed titulus above. The texts attached to the paintings of the Sistine Chapel inform the educated congregants in the papal chapel of the subject matter of the paintings; the tituli work to reveal both the identity of the figures, the content of the scenes with the Biblical narratives, and their exegesis. author=title=source=}} The intended message of the painting is clear, no one should doubt the authority of the Pope over the Church. The power of the papacy was constantly being questioned at the time.

Prompt: 反逆者たちの懲罰に焦点を当てて、その説明を説明してください。英語で出力して下さい。

Aaron
Egypt
Israelites
Joshua
Korah
Moses
Pope
Sistine Chapel


section

反逆者たちの懲罰

The painting depicts three episodes and tells of a rebellion by the Israelites against Moses and Aaron. On the right the rebels attempt to stone Moses after becoming disenchanted by their trials on their emigration from Egypt. Joshua has placed himself between the rebels and Moses, protecting him from the stoning. The center scene shows the rebellion with Korah and the conspirators being driven out by Moses and Aaron, as high priest wearing the papal tiara. Moses is presented with rays of light. To the left, the ground opens and the two principal conspirators sink into it. The children of Korah are spared the fate of their father.The painting is framed by golden faux-architecture with an inscribed titulus above. The texts attached to the paintings of the Sistine Chapel inform the educated congregants in the papal chapel of the subject matter of the paintings; the tituli work to reveal both the identity of the figures, the content of the scenes with the Biblical narratives, and their exegesis. author=title=source=}} The intended message of the painting is clear, no one should doubt the authority of the Pope over the Church. The power of the papacy was constantly being questioned at the time.

Prompt: 反逆者たちの懲罰の説明を説明してください。英語で出力して下さい。

Aaron
Egypt
Israelites
Joshua
Korah
Moses
Pope
Sistine Chapel


section

反逆者たちの懲罰

The painting depicts three episodes and tells of a rebellion by the Israelites against Moses and Aaron. On the right the rebels attempt to stone Moses after becoming disenchanted by their trials on their emigration from Egypt. Joshua has placed himself between the rebels and Moses, protecting him from the stoning. The center scene shows the rebellion with Korah and the conspirators being driven out by Moses and Aaron, as high priest wearing the papal tiara. Moses is presented with rays of light. To the left, the ground opens and the two principal conspirators sink into it. The children of Korah are spared the fate of their father.The painting is framed by golden faux-architecture with an inscribed titulus above. The texts attached to the paintings of the Sistine Chapel inform the educated congregants in the papal chapel of the subject matter of the paintings; the tituli work to reveal both the identity of the figures, the content of the scenes with the Biblical narratives, and their exegesis. author=title=source=}} The intended message of the painting is clear, no one should doubt the authority of the Pope over the Church. The power of the papacy was constantly being questioned at the time.

Prompt: 反逆者たちの懲罰はどのように説明を説明していますか？英語で出力して下さい。

Aaron
Egypt
Israelites
Joshua
Korah
Moses
Pope
Sistine Chapel


section

反逆者たちの懲罰

The painting depicts three episodes and tells of a rebellion by the Israelites against Moses and Aaron. On the right the rebels attempt to stone Moses after becoming disenchanted by their trials on their emigration from Egypt. Joshua has placed himself between the rebels and Moses, protecting him from the stoning. The center scene shows the rebellion with Korah and the conspirators being driven out by Moses and Aaron, as high priest wearing the papal tiara. Moses is presented with rays of light. To the left, the ground opens and the two principal conspirators sink into it. The children of Korah are spared the fate of their father.The painting is framed by golden faux-architecture with an inscribed titulus above. The texts attached to the paintings of the Sistine Chapel inform the educated congregants in the papal chapel of the subject matter of the paintings; the tituli work to reveal both the identity of the figures, the content of the scenes with the Biblical narratives, and their exegesis. author=title=source=}} The intended message of the painting is clear, no one should doubt the authority of the Pope over the Church. The power of the papacy was constantly being questioned at the time.

Prompt: 反逆者たちの懲罰に関して、どのように説明が議論されていますか？英語で出力して下さい。

Aaron
Egypt
Israelites
Joshua
Korah
Moses
Pope
Sistine Chapel


section

反逆者たちの懲罰

Prompt: 反逆者たちの懲罰に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

反逆者たちの懲罰

Prompt: 反逆者たちの懲罰の参照を説明してください。英語で出力して下さい。


section

反逆者たちの懲罰

Prompt: 反逆者たちの懲罰はどのように参照を説明していますか？英語で出力して下さい。


section

反逆者たちの懲罰

Prompt: 反逆者たちの懲罰に関して、どのように参照が議論されていますか？英語で出力して下さい。


section

反逆者たちの懲罰

:1.or Core in tin and some English translations.

Prompt: 反逆者たちの懲罰に焦点を当てて、そのノートを説明してください。英語で出力して下さい。


section

反逆者たちの懲罰

:1.or Core in tin and some English translations.

Prompt: 反逆者たちの懲罰のノートを説明してください。英語で出力して下さい。


section

反逆者たちの懲罰

:1.or Core in tin and some English translations.

Prompt: 反逆者たちの懲罰はどのようにノートを説明していますか？英語で出力して下さい。


section

反逆者たちの懲罰

:1.or Core in tin and some English translations.

Prompt: 反逆者たちの懲罰に関して、どのようにノートが議論されていますか？英語で出力して下さい。


section

モーセの試練

The Youth of Moses or The Trials of Moses is a fresco by the Italian Renaissance painter Sandro Botticelli and his workshop, executed in 1481–1482 in the Sistine Chapel, Rome .

Prompt: モーセの試練に焦点を当てて、その抽象を説明してください。英語で出力して下さい。


section

モーセの試練

The Youth of Moses or The Trials of Moses is a fresco by the Italian Renaissance painter Sandro Botticelli and his workshop, executed in 1481–1482 in the Sistine Chapel, Rome .

Prompt: モーセの試練の抽象を説明してください。英語で出力して下さい。


section

モーセの試練

The Youth of Moses or The Trials of Moses is a fresco by the Italian Renaissance painter Sandro Botticelli and his workshop, executed in 1481–1482 in the Sistine Chapel, Rome .

Prompt: モーセの試練はどのように抽象を説明していますか？英語で出力して下さい。


section

モーセの試練

The Youth of Moses or The Trials of Moses is a fresco by the Italian Renaissance painter Sandro Botticelli and his workshop, executed in 1481–1482 in the Sistine Chapel, Rome .

Prompt: モーセの試練に関して、どのように抽象が議論されていますか？英語で出力して下さい。


section

モーセの試練

On 27 October 1480, Botticelli, together with other Florentine painters, left for Rome where he had been called as part of the reconciliation project between Lorenzo de' Medici, the de facto ruler of Florence, and Pope Sixtus IV. The Florentines started to work in the Sistine Chapel as early as the Spring of 1481, along with Pietro Perugino, who was already there.The theme of the decoration was a parallel between the Stories of Moses and those of Christ, as a sign of continuity between the Old and the New Testament – a continuity also between the divine law of the Tables and the message of Jesus, who, in turn, chose Peter  as his successor: this would finally result in a legitimation of the latter's successors, the popes of Rome.Botticelli, helped by numerous assistants, painted three scenes. On 17 February 1482 his contract was renovated, including the other scenes to complete the chapel's decoration. However, on 20 February his father died: he returned to Florence, where he remained.

Prompt: モーセの試練に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Jesus
Lorenzo de' Medici
Moses
New Testament
Pietro Perugino
Pope Sixtus IV
Sistine Chapel


section

モーセの試練

On 27 October 1480, Botticelli, together with other Florentine painters, left for Rome where he had been called as part of the reconciliation project between Lorenzo de' Medici, the de facto ruler of Florence, and Pope Sixtus IV. The Florentines started to work in the Sistine Chapel as early as the Spring of 1481, along with Pietro Perugino, who was already there.The theme of the decoration was a parallel between the Stories of Moses and those of Christ, as a sign of continuity between the Old and the New Testament – a continuity also between the divine law of the Tables and the message of Jesus, who, in turn, chose Peter  as his successor: this would finally result in a legitimation of the latter's successors, the popes of Rome.Botticelli, helped by numerous assistants, painted three scenes. On 17 February 1482 his contract was renovated, including the other scenes to complete the chapel's decoration. However, on 20 February his father died: he returned to Florence, where he remained.

Prompt: モーセの試練の歴史を説明してください。英語で出力して下さい。

Jesus
Lorenzo de' Medici
Moses
New Testament
Pietro Perugino
Pope Sixtus IV
Sistine Chapel


section

モーセの試練

On 27 October 1480, Botticelli, together with other Florentine painters, left for Rome where he had been called as part of the reconciliation project between Lorenzo de' Medici, the de facto ruler of Florence, and Pope Sixtus IV. The Florentines started to work in the Sistine Chapel as early as the Spring of 1481, along with Pietro Perugino, who was already there.The theme of the decoration was a parallel between the Stories of Moses and those of Christ, as a sign of continuity between the Old and the New Testament – a continuity also between the divine law of the Tables and the message of Jesus, who, in turn, chose Peter  as his successor: this would finally result in a legitimation of the latter's successors, the popes of Rome.Botticelli, helped by numerous assistants, painted three scenes. On 17 February 1482 his contract was renovated, including the other scenes to complete the chapel's decoration. However, on 20 February his father died: he returned to Florence, where he remained.

Prompt: モーセの試練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。

Jesus
Lorenzo de' Medici
Moses
New Testament
Pietro Perugino
Pope Sixtus IV
Sistine Chapel


section

モーセの試練

On 27 October 1480, Botticelli, together with other Florentine painters, left for Rome where he had been called as part of the reconciliation project between Lorenzo de' Medici, the de facto ruler of Florence, and Pope Sixtus IV. The Florentines started to work in the Sistine Chapel as early as the Spring of 1481, along with Pietro Perugino, who was already there.The theme of the decoration was a parallel between the Stories of Moses and those of Christ, as a sign of continuity between the Old and the New Testament – a continuity also between the divine law of the Tables and the message of Jesus, who, in turn, chose Peter  as his successor: this would finally result in a legitimation of the latter's successors, the popes of Rome.Botticelli, helped by numerous assistants, painted three scenes. On 17 February 1482 his contract was renovated, including the other scenes to complete the chapel's decoration. However, on 20 February his father died: he returned to Florence, where he remained.

Prompt: モーセの試練に関して、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。

Jesus
Lorenzo de' Medici
Moses
New Testament
Pietro Perugino
Pope Sixtus IV
Sistine Chapel


section

モーセの試練

The fresco shows several episodes of Moses' youth, taken from Exodus. It parallels the fresco on the opposite wall, also by Botticelli, which depicts the Temptations of Jesus. The frieze has the inscription .On the right is Moses killing the Egyptian who had harassed a Hebrew, and fleeing to the desert . In the next episode Moses fights the shepherds who were preventing Jethro's daughters  to water their cattle at the pit, and then takes the water for them. In the third scene, in the upper left corner, Moses removes his shoes and then receives from God the task to return to Egypt and free his people. Finally, in the lower left corner, he drives the Jews to the Promised nd.Moses is always distinguishable in the scenes by his yellow dress and the green cloak.

Prompt: モーセの試練に焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

モーセの試練

The fresco shows several episodes of Moses' youth, taken from Exodus. It parallels the fresco on the opposite wall, also by Botticelli, which depicts the Temptations of Jesus. The frieze has the inscription .On the right is Moses killing the Egyptian who had harassed a Hebrew, and fleeing to the desert . In the next episode Moses fights the shepherds who were preventing Jethro's daughters  to water their cattle at the pit, and then takes the water for them. In the third scene, in the upper left corner, Moses removes his shoes and then receives from God the task to return to Egypt and free his people. Finally, in the lower left corner, he drives the Jews to the Promised nd.Moses is always distinguishable in the scenes by his yellow dress and the green cloak.

Prompt: モーセの試練の説明を説明してください。英語で出力して下さい。


section

モーセの試練

The fresco shows several episodes of Moses' youth, taken from Exodus. It parallels the fresco on the opposite wall, also by Botticelli, which depicts the Temptations of Jesus. The frieze has the inscription .On the right is Moses killing the Egyptian who had harassed a Hebrew, and fleeing to the desert . In the next episode Moses fights the shepherds who were preventing Jethro's daughters  to water their cattle at the pit, and then takes the water for them. In the third scene, in the upper left corner, Moses removes his shoes and then receives from God the task to return to Egypt and free his people. Finally, in the lower left corner, he drives the Jews to the Promised nd.Moses is always distinguishable in the scenes by his yellow dress and the green cloak.

Prompt: モーセの試練はどのように説明を説明していますか？英語で出力して下さい。


section

モーセの試練

The fresco shows several episodes of Moses' youth, taken from Exodus. It parallels the fresco on the opposite wall, also by Botticelli, which depicts the Temptations of Jesus. The frieze has the inscription .On the right is Moses killing the Egyptian who had harassed a Hebrew, and fleeing to the desert . In the next episode Moses fights the shepherds who were preventing Jethro's daughters  to water their cattle at the pit, and then takes the water for them. In the third scene, in the upper left corner, Moses removes his shoes and then receives from God the task to return to Egypt and free his people. Finally, in the lower left corner, he drives the Jews to the Promised nd.Moses is always distinguishable in the scenes by his yellow dress and the green cloak.

Prompt: モーセの試練に関して、どのように説明が議論されていますか？英語で出力して下さい。


section

モーセの試練

Prompt: モーセの試練に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

モーセの試練

Prompt: モーセの試練の参照を説明してください。英語で出力して下さい。


section

モーセの試練

Prompt: モーセの試練はどのように参照を説明していますか？英語で出力して下さい。


section

モーセの試練

Prompt: モーセの試練に関して、どのように参照が議論されていますか？英語で出力して下さい。


section

エジプトへ出発するモーセ (ペルジーノ)

type=Fresco height_metric=350 width_metric=572 metric_unit=cm imperial_unit=in city=Rome museum=Sistine Chapel}}Moses Leaving for Egypt is a fresco by the Italian Renaissance painter Pietro Perugino and his workshop,  executed around 1482 and located in the Sistine Chapel, Rome. It depicts a journey by the prophet Moses.

Prompt: エジプトへ出発するモーセ (ペルジーノ)に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Moses
Pietro Perugino
Pietro Perugino and his workshop
Rome
Sistine Chapel


section

エジプトへ出発するモーセ (ペルジーノ)

type=Fresco height_metric=350 width_metric=572 metric_unit=cm imperial_unit=in city=Rome museum=Sistine Chapel}}Moses Leaving for Egypt is a fresco by the Italian Renaissance painter Pietro Perugino and his workshop,  executed around 1482 and located in the Sistine Chapel, Rome. It depicts a journey by the prophet Moses.

Prompt: エジプトへ出発するモーセ (ペルジーノ)の抽象を説明してください。英語で出力して下さい。

Moses
Pietro Perugino
Pietro Perugino and his workshop
Rome
Sistine Chapel


section

エジプトへ出発するモーセ (ペルジーノ)

type=Fresco height_metric=350 width_metric=572 metric_unit=cm imperial_unit=in city=Rome museum=Sistine Chapel}}Moses Leaving for Egypt is a fresco by the Italian Renaissance painter Pietro Perugino and his workshop,  executed around 1482 and located in the Sistine Chapel, Rome. It depicts a journey by the prophet Moses.

Prompt: エジプトへ出発するモーセ (ペルジーノ)はどのように抽象を説明していますか？英語で出力して下さい。

Moses
Pietro Perugino
Pietro Perugino and his workshop
Rome
Sistine Chapel


section

エジプトへ出発するモーセ (ペルジーノ)

type=Fresco height_metric=350 width_metric=572 metric_unit=cm imperial_unit=in city=Rome museum=Sistine Chapel}}Moses Leaving for Egypt is a fresco by the Italian Renaissance painter Pietro Perugino and his workshop,  executed around 1482 and located in the Sistine Chapel, Rome. It depicts a journey by the prophet Moses.

Prompt: エジプトへ出発するモーセ (ペルジーノ)に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Moses
Pietro Perugino
Pietro Perugino and his workshop
Rome
Sistine Chapel


section

エジプトへ出発するモーセ (ペルジーノ)

The commission of the work originated in 1480, when Perugino was decorating a chapel in the Old St. Peter's Basilica in Rome. Pope Sixtus IV was pleased by his work, and decided to commission him also the decoration of the new Chapel he had built in the Vatican Palace. Due to the size of the work, Perugino was later joined by a group of painters from Florence, including Botticelli, Ghirlandaio and others.leftPerugino's assistants in the Sistine Chapel included Pinturicchio. Some  figures in the fresco were traditionally attributed to him, but this has been disputed by 20th-century art historians. They were  painted by Andrea d'Assisi, Rocco Zoppo or, less likely, Lo Spagna or Bartolomeo della Gatta, other Perugino's collaborators of the time.

Prompt: エジプトへ出発するモーセ (ペルジーノ)に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Bartolomeo della Gatta
Lo Spagna
Old St. Peter's Basilica
Pinturicchio
Pope Sixtus IV
Rome
Sistine Chapel


section

エジプトへ出発するモーセ (ペルジーノ)

The commission of the work originated in 1480, when Perugino was decorating a chapel in the Old St. Peter's Basilica in Rome. Pope Sixtus IV was pleased by his work, and decided to commission him also the decoration of the new Chapel he had built in the Vatican Palace. Due to the size of the work, Perugino was later joined by a group of painters from Florence, including Botticelli, Ghirlandaio and others.leftPerugino's assistants in the Sistine Chapel included Pinturicchio. Some  figures in the fresco were traditionally attributed to him, but this has been disputed by 20th-century art historians. They were  painted by Andrea d'Assisi, Rocco Zoppo or, less likely, Lo Spagna or Bartolomeo della Gatta, other Perugino's collaborators of the time.

Prompt: エジプトへ出発するモーセ (ペルジーノ)の歴史を説明してください。英語で出力して下さい。

Bartolomeo della Gatta
Lo Spagna
Old St. Peter's Basilica
Pinturicchio
Pope Sixtus IV
Rome
Sistine Chapel


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エジプトへ出発するモーセ (ペルジーノ)

The commission of the work originated in 1480, when Perugino was decorating a chapel in the Old St. Peter's Basilica in Rome. Pope Sixtus IV was pleased by his work, and decided to commission him also the decoration of the new Chapel he had built in the Vatican Palace. Due to the size of the work, Perugino was later joined by a group of painters from Florence, including Botticelli, Ghirlandaio and others.leftPerugino's assistants in the Sistine Chapel included Pinturicchio. Some  figures in the fresco were traditionally attributed to him, but this has been disputed by 20th-century art historians. They were  painted by Andrea d'Assisi, Rocco Zoppo or, less likely, Lo Spagna or Bartolomeo della Gatta, other Perugino's collaborators of the time.

Prompt: エジプトへ出発するモーセ (ペルジーノ)はどのように歴史を説明していますか？英語で出力して下さい。

Bartolomeo della Gatta
Lo Spagna
Old St. Peter's Basilica
Pinturicchio
Pope Sixtus IV
Rome
Sistine Chapel


section

エジプトへ出発するモーセ (ペルジーノ)

The commission of the work originated in 1480, when Perugino was decorating a chapel in the Old St. Peter's Basilica in Rome. Pope Sixtus IV was pleased by his work, and decided to commission him also the decoration of the new Chapel he had built in the Vatican Palace. Due to the size of the work, Perugino was later joined by a group of painters from Florence, including Botticelli, Ghirlandaio and others.leftPerugino's assistants in the Sistine Chapel included Pinturicchio. Some  figures in the fresco were traditionally attributed to him, but this has been disputed by 20th-century art historians. They were  painted by Andrea d'Assisi, Rocco Zoppo or, less likely, Lo Spagna or Bartolomeo della Gatta, other Perugino's collaborators of the time.

Prompt: エジプトへ出発するモーセ (ペルジーノ)に関して、どのように歴史が議論されていますか？英語で出力して下さい。

Bartolomeo della Gatta
Lo Spagna
Old St. Peter's Basilica
Pinturicchio
Pope Sixtus IV
Rome
Sistine Chapel


section

エジプトへ出発するモーセ (ペルジーノ)

The fresco depicting the voyage of Moses is the first on the wall right to the altar, and faces the Baptism of Christ on the opposite wall. The painting shows Moses  leaving for Egypt, after he had been exiled from Midian, with Zipporah to his right. In the center, an angel asks him to circumcise his son Eliezer , as a sign of the alliance between Yahweh and the Israelites. The baptism, depicted on the opposite fresco, was in fact considered by several early Christian writers, including Augustine, as a kind of "spiritual circumcision". The ceremony is on the right, and includes Zipporah.In the right background Moses and Zipporah are greeting Jethro before leaving. Natural elements include the hill landscape in the background, characterized by thin trees , and the birds: two of them are mating, an allusion to the renovations cycles of the nature. On the left background is a group of shepherds. The dames with flying dresses were a common element of Florentine early Renaissance painting, used also by Ghirlandaio and Botticelli.

Prompt: エジプトへ出発するモーセ (ペルジーノ)に焦点を当てて、その説明を説明してください。英語で出力して下さい。

Eliezer Israelites Midian Moses Yahweh Zipporah


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エジプトへ出発するモーセ (ペルジーノ)

The fresco depicting the voyage of Moses is the first on the wall right to the altar, and faces the Baptism of Christ on the opposite wall. The painting shows Moses  leaving for Egypt, after he had been exiled from Midian, with Zipporah to his right. In the center, an angel asks him to circumcise his son Eliezer , as a sign of the alliance between Yahweh and the Israelites. The baptism, depicted on the opposite fresco, was in fact considered by several early Christian writers, including Augustine, as a kind of "spiritual circumcision". The ceremony is on the right, and includes Zipporah.In the right background Moses and Zipporah are greeting Jethro before leaving. Natural elements include the hill landscape in the background, characterized by thin trees , and the birds: two of them are mating, an allusion to the renovations cycles of the nature. On the left background is a group of shepherds. The dames with flying dresses were a common element of Florentine early Renaissance painting, used also by Ghirlandaio and Botticelli.

Prompt: エジプトへ出発するモーセ (ペルジーノ)の説明を説明してください。英語で出力して下さい。

Eliezer Israelites Midian Moses Yahweh Zipporah


section

エジプトへ出発するモーセ (ペルジーノ)

The fresco depicting the voyage of Moses is the first on the wall right to the altar, and faces the Baptism of Christ on the opposite wall. The painting shows Moses  leaving for Egypt, after he had been exiled from Midian, with Zipporah to his right. In the center, an angel asks him to circumcise his son Eliezer , as a sign of the alliance between Yahweh and the Israelites. The baptism, depicted on the opposite fresco, was in fact considered by several early Christian writers, including Augustine, as a kind of "spiritual circumcision". The ceremony is on the right, and includes Zipporah.In the right background Moses and Zipporah are greeting Jethro before leaving. Natural elements include the hill landscape in the background, characterized by thin trees , and the birds: two of them are mating, an allusion to the renovations cycles of the nature. On the left background is a group of shepherds. The dames with flying dresses were a common element of Florentine early Renaissance painting, used also by Ghirlandaio and Botticelli.

Prompt: エジプトへ出発するモーセ (ペルジーノ)はどのように説明を説明していますか？英語で出力して下さい。

Eliezer Israelites Midian Moses Yahweh Zipporah


section

エジプトへ出発するモーセ (ペルジーノ)

The fresco depicting the voyage of Moses is the first on the wall right to the altar, and faces the Baptism of Christ on the opposite wall. The painting shows Moses  leaving for Egypt, after he had been exiled from Midian, with Zipporah to his right. In the center, an angel asks him to circumcise his son Eliezer , as a sign of the alliance between Yahweh and the Israelites. The baptism, depicted on the opposite fresco, was in fact considered by several early Christian writers, including Augustine, as a kind of "spiritual circumcision". The ceremony is on the right, and includes Zipporah.In the right background Moses and Zipporah are greeting Jethro before leaving. Natural elements include the hill landscape in the background, characterized by thin trees , and the birds: two of them are mating, an allusion to the renovations cycles of the nature. On the left background is a group of shepherds. The dames with flying dresses were a common element of Florentine early Renaissance painting, used also by Ghirlandaio and Botticelli.

Prompt: エジプトへ出発するモーセ (ペルジーノ)に関して、どのように説明が議論されていますか？英語で出力して下さい。

Eliezer Israelites Midian Moses Yahweh Zipporah


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ルチェッライの聖母

The Rucellai Madonna is a panel painting representing the Virgin and Child enthroned with Angels by the Sienese painter Duccio di Buoninsegna. The original contract for the work is dated 1285; the painting was probably delivered in 1286. The painting was commissioned by the udesi confraternity of Florence to decorate the chapel they maintained in the Dominican church of Santa Maria Novella .  It was transferred to the Galleria degli Uffizi in the 19th century. The Rucellai Madonna is the largest 13th-century panel painting extant.

Prompt: ルチェッライ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。

Duccio
Florence
Santa Maria Novella
Uffizi


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ルチェッライの聖母

The Rucellai Madonna is a panel painting representing the Virgin and Child enthroned with Angels by the Sienese painter Duccio di Buoninsegna. The original contract for the work is dated 1285; the painting was probably delivered in 1286. The painting was commissioned by the udesi confraternity of Florence to decorate the chapel they maintained in the Dominican church of Santa Maria Novella .  It was transferred to the Galleria degli Uffizi in the 19th century. The Rucellai Madonna is the largest 13th-century panel painting extant.

Prompt: ルチェッライ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。

Duccio
Florence
Santa Maria Novella
Uffizi


section

ルチェッライの聖母

The Rucellai Madonna is a panel painting representing the Virgin and Child enthroned with Angels by the Sienese painter Duccio di Buoninsegna. The original contract for the work is dated 1285; the painting was probably delivered in 1286. The painting was commissioned by the udesi confraternity of Florence to decorate the chapel they maintained in the Dominican church of Santa Maria Novella .  It was transferred to the Galleria degli Uffizi in the 19th century. The Rucellai Madonna is the largest 13th-century panel painting extant.

Prompt: ルチェッライ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。

Duccio
Florence
Santa Maria Novella
Uffizi


section

ルチェッライの聖母

The Rucellai Madonna is a panel painting representing the Virgin and Child enthroned with Angels by the Sienese painter Duccio di Buoninsegna. The original contract for the work is dated 1285; the painting was probably delivered in 1286. The painting was commissioned by the udesi confraternity of Florence to decorate the chapel they maintained in the Dominican church of Santa Maria Novella .  It was transferred to the Galleria degli Uffizi in the 19th century. The Rucellai Madonna is the largest 13th-century panel painting extant.

Prompt: ルチェッライの聖母に関して、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。

Duccio
Florence
Santa Maria Novella
Uffizi


section

ルチェッライの聖母

The Rucellai Madonna is the earlier of the two works by Duccio for which there is written documentation . The altarpiece was commissioned by the Compagnia dei udesi, a lay confraternity devoted to the Virgin, to decorate the chapel they occupied in the transept of the newly built Dominican church of Santa Maria Novella in Florence. The contract for the painting, dated 15 April 1285, is the oldest Italian document of its kind to survive. The contract states that Duccio was commissioned to paint a panel depicting the Virgin and Child and "other figures,” for which he was to be paid 150 lire. It enjoins the artist to work on no other commissions while completing the altarpiece, and specifies that the entire work must be painted by Duccio alone without workshop assistance. The contract also requires the artist to pay for and use ultramarine blue for the Virgin's robe and real gold leaf for the background. The framed panel itself—the largest of the dugento—was supplied by the udesi. The patron had the right of refusal.In the 16th century, the art historian Giorgio Vasari mistakenly attributed the Rucellai Madonna to Duccio's contemporary, Cimabue, in his Lives of the Most Eminent Painters, Sculptors, and Architects. This mistake went unchallenged for centuries; in the 19th century Frederic Leighton depicted the Rucellai Madonna paraded through the streets in his first major painting, which bore the title Cimabue's Celebrated Madonna Carried in Procession . In 1889, however historian Franz Wickhoff compared stylistic choices between the Rucellai Madonna and Duccio's Maestà, and soon other critics agreed that Duccio had indeed painted the Rucellai Madonna.

Prompt: ルチェッライ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。

Cimabue
Cimabue's Celebrated Madonna
Duccio
Florence
Franz Wickhoff
Frederic Leighton
Giorgio Vasari
Santa Maria Novella


section

ルチェッライの聖母

The Rucellai Madonna is the earlier of the two works by Duccio for which there is written documentation . The altarpiece was commissioned by the Compagnia dei udesi, a lay confraternity devoted to the Virgin, to decorate the chapel they occupied in the transept of the newly built Dominican church of Santa Maria Novella in Florence. The contract for the painting, dated 15 April 1285, is the oldest Italian document of its kind to survive. The contract states that Duccio was commissioned to paint a panel depicting the Virgin and Child and "other figures,” for which he was to be paid 150 lire. It enjoins the artist to work on no other commissions while completing the altarpiece, and specifies that the entire work must be painted by Duccio alone without workshop assistance. The contract also requires the artist to pay for and use ultramarine blue for the Virgin's robe and real gold leaf for the background. The framed panel itself—the largest of the dugento—was supplied by the udesi. The patron had the right of refusal.In the 16th century, the art historian Giorgio Vasari mistakenly attributed the Rucellai Madonna to Duccio's contemporary, Cimabue, in his Lives of the Most Eminent Painters, Sculptors, and Architects. This mistake went unchallenged for centuries; in the 19th century Frederic Leighton depicted the Rucellai Madonna paraded through the streets in his first major painting, which bore the title Cimabue's Celebrated Madonna Carried in Procession . In 1889, however historian Franz Wickhoff compared stylistic choices between the Rucellai Madonna and Duccio's Maestà, and soon other critics agreed that Duccio had indeed painted the Rucellai Madonna.

Prompt: ルチェッライ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。

Cimabue
Cimabue's Celebrated Madonna
Duccio
Florence
Franz Wickhoff
Frederic Leighton
Giorgio Vasari
Santa Maria Novella


section

ルチェッライの聖母

The Rucellai Madonna is the earlier of the two works by Duccio for which there is written documentation . The altarpiece was commissioned by the Compagnia dei udesi, a lay confraternity devoted to the Virgin, to decorate the chapel they occupied in the transept of the newly built Dominican church of Santa Maria Novella in Florence. The contract for the painting, dated 15 April 1285, is the oldest Italian document of its kind to survive. The contract states that Duccio was commissioned to paint a panel depicting the Virgin and Child and "other figures,” for which he was to be paid 150 lire. It enjoins the artist to work on no other commissions while completing the altarpiece, and specifies that the entire work must be painted by Duccio alone without workshop assistance. The contract also requires the artist to pay for and use ultramarine blue for the Virgin's robe and real gold leaf for the background. The framed panel itself—the largest of the dugento—was supplied by the udesi. The patron had the right of refusal.In the 16th century, the art historian Giorgio Vasari mistakenly attributed the Rucellai Madonna to Duccio's contemporary, Cimabue, in his Lives of the Most Eminent Painters, Sculptors, and Architects. This mistake went unchallenged for centuries; in the 19th century Frederic Leighton depicted the Rucellai Madonna paraded through the streets in his first major painting, which bore the title Cimabue's Celebrated Madonna Carried in Procession . In 1889, however historian Franz Wickhoff compared stylistic choices between the Rucellai Madonna and Duccio's Maestà, and soon other critics agreed that Duccio had indeed painted the Rucellai Madonna.

Prompt: ルチェッライ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。

Cimabue
Cimabue's Celebrated Madonna
Duccio
Florence
Franz Wickhoff
Frederic Leighton
Giorgio Vasari
Santa Maria Novella


section

ルチェッライの聖母

The Rucellai Madonna is the earlier of the two works by Duccio for which there is written documentation . The altarpiece was commissioned by the Compagnia dei udesi, a lay confraternity devoted to the Virgin, to decorate the chapel they occupied in the transept of the newly built Dominican church of Santa Maria Novella in Florence. The contract for the painting, dated 15 April 1285, is the oldest Italian document of its kind to survive. The contract states that Duccio was commissioned to paint a panel depicting the Virgin and Child and "other figures,” for which he was to be paid 150 lire. It enjoins the artist to work on no other commissions while completing the altarpiece, and specifies that the entire work must be painted by Duccio alone without workshop assistance. The contract also requires the artist to pay for and use ultramarine blue for the Virgin's robe and real gold leaf for the background. The framed panel itself—the largest of the dugento—was supplied by the udesi. The patron had the right of refusal.In the 16th century, the art historian Giorgio Vasari mistakenly attributed the Rucellai Madonna to Duccio's contemporary, Cimabue, in his Lives of the Most Eminent Painters, Sculptors, and Architects. This mistake went unchallenged for centuries; in the 19th century Frederic Leighton depicted the Rucellai Madonna paraded through the streets in his first major painting, which bore the title Cimabue's Celebrated Madonna Carried in Procession . In 1889, however historian Franz Wickhoff compared stylistic choices between the Rucellai Madonna and Duccio's Maestà, and soon other critics agreed that Duccio had indeed painted the Rucellai Madonna.

Prompt: ルチェッライの聖母に関して、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。

Cimabue
Cimabue's Celebrated Madonna
Duccio
Florence
Franz Wickhoff
Frederic Leighton
Giorgio Vasari
Santa Maria Novella


section

ルチェッライの聖母

leftThe work, measuring 4.5 by 2.9 meters, was painted in egg tempera on a five-pieced poplar panel. The panel and frame would have been constructed by a master carpenter and then handed over to Duccio for painting. The frame is of the same wood. Although the contract required Duccio to use costly, ultramarine blue, made from ground lapis lazuli, conservators restoring the panel in 1989 determined the pigment of the Virgin's robe to be the cheaper substitute, azurite. Over the centuries, the blue pigments darkened considerably and the green bole underpainting of the fleshtones became more visible. A more recent restoration has rectified those issues, thereby greatly enhancing the tonal unity and subtle naturalism of the work.The iconography of the painting was determined by the needs of the patrons and the Dominican order. The members of the udesi met in the chapel to sing lauds, or tin hymns praising the Virgin; an image of Mary provided a focus for those devotions. The roundels on the frame represent apostles, saints, and prominent members of the Dominican order, including Saints Dominic and Thomas Aquinas.Given the bitter political enmity of Florence and Siena, the Florentine civic group's choice of a Sienese artist is noteworthy. Siena regarded the Virgin not only as its patron saint, but as Queen of the city. As a result of this association, Sienese artists like Guido da Siena and Duccio came to specialize in Marian imagery. Although compositional and iconographic sources of the Rucellai Madonna are Byzantine icons, Duccio's work was modeled on recent Sienese works, and not derived directly from a Greek model. The emphasis on grace and refinement seen in the Virgin's gown and stylized anatomy may reflect a familiarity with French Gothic art .

Prompt: ルチェッライの聖母に焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

ルチェッライの聖母

leftThe work, measuring 4.5 by 2.9 meters, was painted in egg tempera on a five-pieced poplar panel. The panel and frame would have been constructed by a master carpenter and then handed over to Duccio for painting. The frame is of the same wood. Although the contract required Duccio to use costly, ultramarine blue, made from ground lapis lazuli, conservators restoring the panel in 1989 determined the pigment of the Virgin's robe to be the cheaper substitute, azurite. Over the centuries, the blue pigments darkened considerably and the green bole underpainting of the fleshtones became more visible. A more recent restoration has rectified those issues, thereby greatly enhancing the tonal unity and subtle naturalism of the work.The iconography of the painting was determined by the needs of the patrons and the Dominican order. The members of the udesi met in the chapel to sing lauds, or tin hymns praising the Virgin; an image of Mary provided a focus for those devotions. The roundels on the frame represent apostles, saints, and prominent members of the Dominican order, including Saints Dominic and Thomas Aquinas.Given the bitter political enmity of Florence and Siena, the Florentine civic group's choice of a Sienese artist is noteworthy. Siena regarded the Virgin not only as its patron saint, but as Queen of the city. As a result of this association, Sienese artists like Guido da Siena and Duccio came to specialize in Marian imagery. Although compositional and iconographic sources of the Rucellai Madonna are Byzantine icons, Duccio's work was modeled on recent Sienese works, and not derived directly from a Greek model. The emphasis on grace and refinement seen in the Virgin's gown and stylized anatomy may reflect a familiarity with French Gothic art .

Prompt: ルチェッライの聖母の説明を説明してください。英語で出力して下さい。