subsection

博士たちの間のキリスト

As usual Dürer signed his work with his monogram and a date, displayed on an object within the scenery, like a little plaque  or a piece of paper, a veristic device to invite the beholder into the picture space and hence into the depicted drama, instead of just signing an essentially two-dimensional composition of brush strokes on the surface of a piece of wood. The inscription in Jesus among the Doctors is written on a bookmarker that sticks out of the folio at the bottom of the picture on the left. It reads: 1506/A. D./Opus quinque dierum, "made in five days".He produced the picture in this indeed rather short time to finish an oil painting, so that it was worth the inscription, probably due to the fact, that he prominently had to work on the Feast of the Rosary, commissioned by the German community in Venice residing at the Fondaco dei Tedeschi for their church . And with the Virgin with the Siskin and several commissioned portraits there was plenty of work to be done. But the inscription cannot have taken into account the time of the conception, not the preparatory studies nor the underdrawing. The "five days" may be also an ironic allusion to the "five month" he needed to finish the Rosary altarpiece, as he wrote in its inscription.Opposing the two paintings reveals two kinds of work, done in different "modes of creation", the certainly more accomplished altarpiece was meticulously planned and executed, while the other was done swiftly following an instant inspiration, like a stroke of a genius. Dürer much later expressed this "unheard of" idea, as he wrote in a "strange speech"  even for him, that some artist may sketch something in one day, that another won't achieve in a year, thus establishing a new "purely artistic" evaluation of an artwork, instead of the material needed and the amount of time spent. Unlike Alberti, whose writings he studied, Dürer became aware the "fundamental difference between the aesthetic value of the object represented in a work of art, and the aesthetic value of the work of art itself" , in which something ugly could be depicted beautifully by an able hand. "And this gift is miraculous" , Dürer said. He was well aware of his exceptional talent already at an early age and it is surely the main motivation behind his trademark monogram, besides his copyright concerns related to his printed work. However he even signed his preparatory drawings with it, which would have otherwise been unnecessary.

Prompt: 博士たちの間のキリストでは、どのように概念の5日間で作られたが説明されていますか？英語で出力して下さい。

Feast of the Rosary
Fondaco dei Tedeschi
Venice


subsection

博士たちの間のキリスト

As usual Dürer signed his work with his monogram and a date, displayed on an object within the scenery, like a little plaque  or a piece of paper, a veristic device to invite the beholder into the picture space and hence into the depicted drama, instead of just signing an essentially two-dimensional composition of brush strokes on the surface of a piece of wood. The inscription in Jesus among the Doctors is written on a bookmarker that sticks out of the folio at the bottom of the picture on the left. It reads: 1506/A. D./Opus quinque dierum, "made in five days".He produced the picture in this indeed rather short time to finish an oil painting, so that it was worth the inscription, probably due to the fact, that he prominently had to work on the Feast of the Rosary, commissioned by the German community in Venice residing at the Fondaco dei Tedeschi for their church . And with the Virgin with the Siskin and several commissioned portraits there was plenty of work to be done. But the inscription cannot have taken into account the time of the conception, not the preparatory studies nor the underdrawing. The "five days" may be also an ironic allusion to the "five month" he needed to finish the Rosary altarpiece, as he wrote in its inscription.Opposing the two paintings reveals two kinds of work, done in different "modes of creation", the certainly more accomplished altarpiece was meticulously planned and executed, while the other was done swiftly following an instant inspiration, like a stroke of a genius. Dürer much later expressed this "unheard of" idea, as he wrote in a "strange speech"  even for him, that some artist may sketch something in one day, that another won't achieve in a year, thus establishing a new "purely artistic" evaluation of an artwork, instead of the material needed and the amount of time spent. Unlike Alberti, whose writings he studied, Dürer became aware the "fundamental difference between the aesthetic value of the object represented in a work of art, and the aesthetic value of the work of art itself" , in which something ugly could be depicted beautifully by an able hand. "And this gift is miraculous" , Dürer said. He was well aware of his exceptional talent already at an early age and it is surely the main motivation behind his trademark monogram, besides his copyright concerns related to his printed work. However he even signed his preparatory drawings with it, which would have otherwise been unnecessary.

Prompt: 博士たちの間のキリストの概念における5日間で作られたの特徴を説明してください。英語で出力して下さい。

Feast of the Rosary
Fondaco dei Tedeschi
Venice


subsection

博士たちの間のキリスト

The conception of a composition with several half-figures  in a neutral dark space was introduced by Andrea Mantegna, but may be traced back to reliefs by Donatello. There are no additions like furniture or architecture that would constitute a space, only the clothes of the figures and accessoires on them or held in their hands transmit meaning, but the dramatic aspect of the theme is exclusively displayed by facial expression, gesture and the spacial relation between the figures.Mantegna probably painted The Presentation at the Temple around 1455, when he married the sister of Giovanni Bellini, or on the occasion of the birth of their first child. The scene's protagonists are Mary, the Infant Jesus, Joseph  and Simeon, who is about to recognise the Messiah. The two added figures are sometimes considered to be portraits of Mantegna himself and his wife . Decades later Mantegna's brother-in-law painted a version of Presentation at the Temple traced from the original. Expanded with two more figures it was often similarly considered a Bellini family portrait .Mantegna died in Mantua in 1506, and there are no sources that would confirm Dürer ever met him personally, but through Bellini he learned about his work. In 1494 Dürer copied at least two engravings by Mantegna, Battle of the Sea Gods and Bacchanal with Silenus.Dürer became acquainted with Bellini on his  first stay in Venice in the mid-1490s. They very much respected each other. Bellini asked Dürer to paint a piece for him, and it was considered that Dürer maybe gave the Christ among the Doctors to him. Dürer wrote to his humanist friend Willibald Pirckheimer in Nuremberg that Bellini was "old, but that he was still the best" . At the time Dürer arrived in Venice in the summer of 1505, Bellini's San Zaccaria Altarpiece was erected and surely was an event talked about not only in artists circles. Dürer paid homage to him by incorporating the figure of the single lute-playing angel sitting in front of Mary's throne into his Feast of the Rosary. The free interpretation of Bellini's original figure shows how Dürer used to respond autonomously to inspirational ideas of others. The half-figure on the far right side of Christ Among the Doctors is said to be perhaps a citation of Giovanni Bellini, but it is more likely that the figure was copied from a painting by Mantegna. In his Adoration of the Magi from around 1500, conceived too as a picture-filling , the figure is also placed in the lower right corner. Dürer used this figure several times, in the Feast of the Rosary he was also working on at the time, the head appears somewhat hidden at the far left side of the panel.Both Presentation panels of Mantegna and Bellini have all personage and the beholder on almost equal height, whereas Dürer had tilted the ground plane resulting in a perspectival view from slightly above seemingly to gain depth of space and rectify the overcrowded scene. But the composition is "conceived flatly, and the spatial relations between the figures are so much neglected that we must interpret this lack of three-dimensionality as intentional." Maybe this was caused by the short time he spend on it, or he purposefully aimed for a contrasting statement against the Venetian sense for calmness and harmonic composition, as well as his own Feast of the Rosary. Without fail he emphasised the drama in his own Northern way.

Prompt: 博士たちの間のキリストの文脈で、マンテーニャとベッリーニと概念を説明してください。英語で出力して下さい。

Andrea Mantegna
Donatello
Feast of the Rosary
Giovanni Bellini
San Zaccaria Altarpiece
Venice
Willibald Pirckheimer


subsection

博士たちの間のキリスト

The conception of a composition with several half-figures  in a neutral dark space was introduced by Andrea Mantegna, but may be traced back to reliefs by Donatello. There are no additions like furniture or architecture that would constitute a space, only the clothes of the figures and accessoires on them or held in their hands transmit meaning, but the dramatic aspect of the theme is exclusively displayed by facial expression, gesture and the spacial relation between the figures.Mantegna probably painted The Presentation at the Temple around 1455, when he married the sister of Giovanni Bellini, or on the occasion of the birth of their first child. The scene's protagonists are Mary, the Infant Jesus, Joseph  and Simeon, who is about to recognise the Messiah. The two added figures are sometimes considered to be portraits of Mantegna himself and his wife . Decades later Mantegna's brother-in-law painted a version of Presentation at the Temple traced from the original. Expanded with two more figures it was often similarly considered a Bellini family portrait .Mantegna died in Mantua in 1506, and there are no sources that would confirm Dürer ever met him personally, but through Bellini he learned about his work. In 1494 Dürer copied at least two engravings by Mantegna, Battle of the Sea Gods and Bacchanal with Silenus.Dürer became acquainted with Bellini on his  first stay in Venice in the mid-1490s. They very much respected each other. Bellini asked Dürer to paint a piece for him, and it was considered that Dürer maybe gave the Christ among the Doctors to him. Dürer wrote to his humanist friend Willibald Pirckheimer in Nuremberg that Bellini was "old, but that he was still the best" . At the time Dürer arrived in Venice in the summer of 1505, Bellini's San Zaccaria Altarpiece was erected and surely was an event talked about not only in artists circles. Dürer paid homage to him by incorporating the figure of the single lute-playing angel sitting in front of Mary's throne into his Feast of the Rosary. The free interpretation of Bellini's original figure shows how Dürer used to respond autonomously to inspirational ideas of others. The half-figure on the far right side of Christ Among the Doctors is said to be perhaps a citation of Giovanni Bellini, but it is more likely that the figure was copied from a painting by Mantegna. In his Adoration of the Magi from around 1500, conceived too as a picture-filling , the figure is also placed in the lower right corner. Dürer used this figure several times, in the Feast of the Rosary he was also working on at the time, the head appears somewhat hidden at the far left side of the panel.Both Presentation panels of Mantegna and Bellini have all personage and the beholder on almost equal height, whereas Dürer had tilted the ground plane resulting in a perspectival view from slightly above seemingly to gain depth of space and rectify the overcrowded scene. But the composition is "conceived flatly, and the spatial relations between the figures are so much neglected that we must interpret this lack of three-dimensionality as intentional." Maybe this was caused by the short time he spend on it, or he purposefully aimed for a contrasting statement against the Venetian sense for calmness and harmonic composition, as well as his own Feast of the Rosary. Without fail he emphasised the drama in his own Northern way.

Prompt: 博士たちの間のキリストの概念に関するマンテーニャとベッリーニを説明してください。英語で出力して下さい。

Andrea Mantegna
Donatello
Feast of the Rosary
Giovanni Bellini
San Zaccaria Altarpiece
Venice
Willibald Pirckheimer


subsection

博士たちの間のキリスト

The conception of a composition with several half-figures  in a neutral dark space was introduced by Andrea Mantegna, but may be traced back to reliefs by Donatello. There are no additions like furniture or architecture that would constitute a space, only the clothes of the figures and accessoires on them or held in their hands transmit meaning, but the dramatic aspect of the theme is exclusively displayed by facial expression, gesture and the spacial relation between the figures.Mantegna probably painted The Presentation at the Temple around 1455, when he married the sister of Giovanni Bellini, or on the occasion of the birth of their first child. The scene's protagonists are Mary, the Infant Jesus, Joseph  and Simeon, who is about to recognise the Messiah. The two added figures are sometimes considered to be portraits of Mantegna himself and his wife . Decades later Mantegna's brother-in-law painted a version of Presentation at the Temple traced from the original. Expanded with two more figures it was often similarly considered a Bellini family portrait .Mantegna died in Mantua in 1506, and there are no sources that would confirm Dürer ever met him personally, but through Bellini he learned about his work. In 1494 Dürer copied at least two engravings by Mantegna, Battle of the Sea Gods and Bacchanal with Silenus.Dürer became acquainted with Bellini on his  first stay in Venice in the mid-1490s. They very much respected each other. Bellini asked Dürer to paint a piece for him, and it was considered that Dürer maybe gave the Christ among the Doctors to him. Dürer wrote to his humanist friend Willibald Pirckheimer in Nuremberg that Bellini was "old, but that he was still the best" . At the time Dürer arrived in Venice in the summer of 1505, Bellini's San Zaccaria Altarpiece was erected and surely was an event talked about not only in artists circles. Dürer paid homage to him by incorporating the figure of the single lute-playing angel sitting in front of Mary's throne into his Feast of the Rosary. The free interpretation of Bellini's original figure shows how Dürer used to respond autonomously to inspirational ideas of others. The half-figure on the far right side of Christ Among the Doctors is said to be perhaps a citation of Giovanni Bellini, but it is more likely that the figure was copied from a painting by Mantegna. In his Adoration of the Magi from around 1500, conceived too as a picture-filling , the figure is also placed in the lower right corner. Dürer used this figure several times, in the Feast of the Rosary he was also working on at the time, the head appears somewhat hidden at the far left side of the panel.Both Presentation panels of Mantegna and Bellini have all personage and the beholder on almost equal height, whereas Dürer had tilted the ground plane resulting in a perspectival view from slightly above seemingly to gain depth of space and rectify the overcrowded scene. But the composition is "conceived flatly, and the spatial relations between the figures are so much neglected that we must interpret this lack of three-dimensionality as intentional." Maybe this was caused by the short time he spend on it, or he purposefully aimed for a contrasting statement against the Venetian sense for calmness and harmonic composition, as well as his own Feast of the Rosary. Without fail he emphasised the drama in his own Northern way.

Prompt: 博士たちの間のキリストでは、どのように概念のマンテーニャとベッリーニが説明されていますか？英語で出力して下さい。

Andrea Mantegna
Donatello
Feast of the Rosary
Giovanni Bellini
San Zaccaria Altarpiece
Venice
Willibald Pirckheimer


subsection

博士たちの間のキリスト

The conception of a composition with several half-figures  in a neutral dark space was introduced by Andrea Mantegna, but may be traced back to reliefs by Donatello. There are no additions like furniture or architecture that would constitute a space, only the clothes of the figures and accessoires on them or held in their hands transmit meaning, but the dramatic aspect of the theme is exclusively displayed by facial expression, gesture and the spacial relation between the figures.Mantegna probably painted The Presentation at the Temple around 1455, when he married the sister of Giovanni Bellini, or on the occasion of the birth of their first child. The scene's protagonists are Mary, the Infant Jesus, Joseph  and Simeon, who is about to recognise the Messiah. The two added figures are sometimes considered to be portraits of Mantegna himself and his wife . Decades later Mantegna's brother-in-law painted a version of Presentation at the Temple traced from the original. Expanded with two more figures it was often similarly considered a Bellini family portrait .Mantegna died in Mantua in 1506, and there are no sources that would confirm Dürer ever met him personally, but through Bellini he learned about his work. In 1494 Dürer copied at least two engravings by Mantegna, Battle of the Sea Gods and Bacchanal with Silenus.Dürer became acquainted with Bellini on his  first stay in Venice in the mid-1490s. They very much respected each other. Bellini asked Dürer to paint a piece for him, and it was considered that Dürer maybe gave the Christ among the Doctors to him. Dürer wrote to his humanist friend Willibald Pirckheimer in Nuremberg that Bellini was "old, but that he was still the best" . At the time Dürer arrived in Venice in the summer of 1505, Bellini's San Zaccaria Altarpiece was erected and surely was an event talked about not only in artists circles. Dürer paid homage to him by incorporating the figure of the single lute-playing angel sitting in front of Mary's throne into his Feast of the Rosary. The free interpretation of Bellini's original figure shows how Dürer used to respond autonomously to inspirational ideas of others. The half-figure on the far right side of Christ Among the Doctors is said to be perhaps a citation of Giovanni Bellini, but it is more likely that the figure was copied from a painting by Mantegna. In his Adoration of the Magi from around 1500, conceived too as a picture-filling , the figure is also placed in the lower right corner. Dürer used this figure several times, in the Feast of the Rosary he was also working on at the time, the head appears somewhat hidden at the far left side of the panel.Both Presentation panels of Mantegna and Bellini have all personage and the beholder on almost equal height, whereas Dürer had tilted the ground plane resulting in a perspectival view from slightly above seemingly to gain depth of space and rectify the overcrowded scene. But the composition is "conceived flatly, and the spatial relations between the figures are so much neglected that we must interpret this lack of three-dimensionality as intentional." Maybe this was caused by the short time he spend on it, or he purposefully aimed for a contrasting statement against the Venetian sense for calmness and harmonic composition, as well as his own Feast of the Rosary. Without fail he emphasised the drama in his own Northern way.

Prompt: 博士たちの間のキリストの概念におけるマンテーニャとベッリーニの特徴を説明してください。英語で出力して下さい。

Andrea Mantegna
Donatello
Feast of the Rosary
Giovanni Bellini
San Zaccaria Altarpiece
Venice
Willibald Pirckheimer


subsection

博士たちの間のキリスト

The panel of Christ among the Doctors by Cima da Conegliano is assessed to have preceded Dürer's painting about a year or two. Cima followed the local tradition established by Mantegna and Bellini. About thirty copies and variations of their composition alone are known. And the conception with half-figures with a neutral background lend itself to other biblical episodes and sacred conversations produced in northern Italy.Cima took the scene out of its narrative context and created an autonomous symbolic composition. The overriding theme is the divine knowledge through Christ as Alpha and Omega. He left Mary and Joseph out of the picture and concentrated the image on the theological debate, emphasised by the traditional motif of hands enumerating points on the fingers . The gesture is depicted slightly off center to the right, the right hand reaching for the left, just like in the Dürer painting. But here it forms a diagonal with Christ's head, which reruns in parallels elegantly through the whole composition. And the personage, whose diversity is illustrated by their clothes, form a half-circle around the Christ Child, already generating a deeper space than the panels by Mantegna and Bellini. Still further similarities with Dürer's panel can be seen on the left side of Cima's painting, where a scholar tries to interrupt Jesus by touching him at his arm, while the doctor on the extreme left seems to have understood the child and begins to rip of the pages from his folio. Since Cima's "classical composition could not have been produced as an echo of Dürer's "Gothic" unrest," it seems more likely that Dürer developed his composition from Cima's, than the other way around.The theme of Jesus among the Doctors became popular in Italy in the 16th century. In 1504 Isabella d'Este commissioned Leonardo to paint the Infant Jesus, but nothing came of that. The later painting by Bernardino Luini was assumed to have been inspired by or even copied from an assumed lost composition by Leonardo. But this dependency is rejected and the lost work by Leonardo dismissed, despite some resemblance particularly of the young Jesus with Leonardo's style. Apart from that, Luni's work appears more like a devotional image in a traditional way. Christ stands in the foreground, faces the beholder and addresses him, leaving the doctors behind him merely as staffage, the conflict muted.

Prompt: 博士たちの間のキリストの文脈で、チマダコネリアーノ、ベルナルディーノ・ルイーニと概念を説明してください。英語で出力して下さい。

Alpha and Omega
Bernardino Luini
Cima da Conegliano
Isabella d'Este
Italy


subsection

博士たちの間のキリスト

The panel of Christ among the Doctors by Cima da Conegliano is assessed to have preceded Dürer's painting about a year or two. Cima followed the local tradition established by Mantegna and Bellini. About thirty copies and variations of their composition alone are known. And the conception with half-figures with a neutral background lend itself to other biblical episodes and sacred conversations produced in northern Italy.Cima took the scene out of its narrative context and created an autonomous symbolic composition. The overriding theme is the divine knowledge through Christ as Alpha and Omega. He left Mary and Joseph out of the picture and concentrated the image on the theological debate, emphasised by the traditional motif of hands enumerating points on the fingers . The gesture is depicted slightly off center to the right, the right hand reaching for the left, just like in the Dürer painting. But here it forms a diagonal with Christ's head, which reruns in parallels elegantly through the whole composition. And the personage, whose diversity is illustrated by their clothes, form a half-circle around the Christ Child, already generating a deeper space than the panels by Mantegna and Bellini. Still further similarities with Dürer's panel can be seen on the left side of Cima's painting, where a scholar tries to interrupt Jesus by touching him at his arm, while the doctor on the extreme left seems to have understood the child and begins to rip of the pages from his folio. Since Cima's "classical composition could not have been produced as an echo of Dürer's "Gothic" unrest," it seems more likely that Dürer developed his composition from Cima's, than the other way around.The theme of Jesus among the Doctors became popular in Italy in the 16th century. In 1504 Isabella d'Este commissioned Leonardo to paint the Infant Jesus, but nothing came of that. The later painting by Bernardino Luini was assumed to have been inspired by or even copied from an assumed lost composition by Leonardo. But this dependency is rejected and the lost work by Leonardo dismissed, despite some resemblance particularly of the young Jesus with Leonardo's style. Apart from that, Luni's work appears more like a devotional image in a traditional way. Christ stands in the foreground, faces the beholder and addresses him, leaving the doctors behind him merely as staffage, the conflict muted.

Prompt: 博士たちの間のキリストの概念に関するチマダコネリアーノ、ベルナルディーノ・ルイーニを説明してください。英語で出力して下さい。

Alpha and Omega
Bernardino Luini
Cima da Conegliano
Isabella d'Este
Italy


subsection

博士たちの間のキリスト

The panel of Christ among the Doctors by Cima da Conegliano is assessed to have preceded Dürer's painting about a year or two. Cima followed the local tradition established by Mantegna and Bellini. About thirty copies and variations of their composition alone are known. And the conception with half-figures with a neutral background lend itself to other biblical episodes and sacred conversations produced in northern Italy.Cima took the scene out of its narrative context and created an autonomous symbolic composition. The overriding theme is the divine knowledge through Christ as Alpha and Omega. He left Mary and Joseph out of the picture and concentrated the image on the theological debate, emphasised by the traditional motif of hands enumerating points on the fingers . The gesture is depicted slightly off center to the right, the right hand reaching for the left, just like in the Dürer painting. But here it forms a diagonal with Christ's head, which reruns in parallels elegantly through the whole composition. And the personage, whose diversity is illustrated by their clothes, form a half-circle around the Christ Child, already generating a deeper space than the panels by Mantegna and Bellini. Still further similarities with Dürer's panel can be seen on the left side of Cima's painting, where a scholar tries to interrupt Jesus by touching him at his arm, while the doctor on the extreme left seems to have understood the child and begins to rip of the pages from his folio. Since Cima's "classical composition could not have been produced as an echo of Dürer's "Gothic" unrest," it seems more likely that Dürer developed his composition from Cima's, than the other way around.The theme of Jesus among the Doctors became popular in Italy in the 16th century. In 1504 Isabella d'Este commissioned Leonardo to paint the Infant Jesus, but nothing came of that. The later painting by Bernardino Luini was assumed to have been inspired by or even copied from an assumed lost composition by Leonardo. But this dependency is rejected and the lost work by Leonardo dismissed, despite some resemblance particularly of the young Jesus with Leonardo's style. Apart from that, Luni's work appears more like a devotional image in a traditional way. Christ stands in the foreground, faces the beholder and addresses him, leaving the doctors behind him merely as staffage, the conflict muted.

Prompt: 博士たちの間のキリストでは、どのように概念のチマダコネリアーノ、ベルナルディーノ・ルイーニが説明されていますか？英語で出力して下さい。

Alpha and Omega
Bernardino Luini
Cima da Conegliano
Isabella d'Este
Italy


subsection

博士たちの間のキリスト

The panel of Christ among the Doctors by Cima da Conegliano is assessed to have preceded Dürer's painting about a year or two. Cima followed the local tradition established by Mantegna and Bellini. About thirty copies and variations of their composition alone are known. And the conception with half-figures with a neutral background lend itself to other biblical episodes and sacred conversations produced in northern Italy.Cima took the scene out of its narrative context and created an autonomous symbolic composition. The overriding theme is the divine knowledge through Christ as Alpha and Omega. He left Mary and Joseph out of the picture and concentrated the image on the theological debate, emphasised by the traditional motif of hands enumerating points on the fingers . The gesture is depicted slightly off center to the right, the right hand reaching for the left, just like in the Dürer painting. But here it forms a diagonal with Christ's head, which reruns in parallels elegantly through the whole composition. And the personage, whose diversity is illustrated by their clothes, form a half-circle around the Christ Child, already generating a deeper space than the panels by Mantegna and Bellini. Still further similarities with Dürer's panel can be seen on the left side of Cima's painting, where a scholar tries to interrupt Jesus by touching him at his arm, while the doctor on the extreme left seems to have understood the child and begins to rip of the pages from his folio. Since Cima's "classical composition could not have been produced as an echo of Dürer's "Gothic" unrest," it seems more likely that Dürer developed his composition from Cima's, than the other way around.The theme of Jesus among the Doctors became popular in Italy in the 16th century. In 1504 Isabella d'Este commissioned Leonardo to paint the Infant Jesus, but nothing came of that. The later painting by Bernardino Luini was assumed to have been inspired by or even copied from an assumed lost composition by Leonardo. But this dependency is rejected and the lost work by Leonardo dismissed, despite some resemblance particularly of the young Jesus with Leonardo's style. Apart from that, Luni's work appears more like a devotional image in a traditional way. Christ stands in the foreground, faces the beholder and addresses him, leaving the doctors behind him merely as staffage, the conflict muted.

Prompt: 博士たちの間のキリストの概念におけるチマダコネリアーノ、ベルナルディーノ・ルイーニの特徴を説明してください。英語で出力して下さい。

Alpha and Omega
Bernardino Luini
Cima da Conegliano
Isabella d'Este
Italy


subsection

博士たちの間のキリスト

Not until his second journey to Italy Dürer made detailed studies after living models before he worked out a final composition for paintings and engravings alike. The first preparatory drawings originate in Venice, all in the same technique: dark ink drawn with a brush, highlighted with white tempera, on large sheets of Venetian blue dyed paper . The blue color serves as a middle tone, a method he formerly applied in the Green Passion of 1504, and in drawings where he washed the background around the figures to obtain the same effect. Four preparatory drawings for the painting have survived, one of the infant's head  and a hand holding a book , a study of the hands counting off arguments, and a further drawing with two pairs of hands holding a book, of which only one Dürer finally incorporated into the picture .

Prompt: 博士たちの間のキリストの文脈で、準備図と図像を説明してください。英語で出力して下さい。


subsection

博士たちの間のキリスト

Not until his second journey to Italy Dürer made detailed studies after living models before he worked out a final composition for paintings and engravings alike. The first preparatory drawings originate in Venice, all in the same technique: dark ink drawn with a brush, highlighted with white tempera, on large sheets of Venetian blue dyed paper . The blue color serves as a middle tone, a method he formerly applied in the Green Passion of 1504, and in drawings where he washed the background around the figures to obtain the same effect. Four preparatory drawings for the painting have survived, one of the infant's head  and a hand holding a book , a study of the hands counting off arguments, and a further drawing with two pairs of hands holding a book, of which only one Dürer finally incorporated into the picture .

Prompt: 博士たちの間のキリストの図像に関する準備図を説明してください。英語で出力して下さい。


subsection

博士たちの間のキリスト

Not until his second journey to Italy Dürer made detailed studies after living models before he worked out a final composition for paintings and engravings alike. The first preparatory drawings originate in Venice, all in the same technique: dark ink drawn with a brush, highlighted with white tempera, on large sheets of Venetian blue dyed paper . The blue color serves as a middle tone, a method he formerly applied in the Green Passion of 1504, and in drawings where he washed the background around the figures to obtain the same effect. Four preparatory drawings for the painting have survived, one of the infant's head  and a hand holding a book , a study of the hands counting off arguments, and a further drawing with two pairs of hands holding a book, of which only one Dürer finally incorporated into the picture .

Prompt: 博士たちの間のキリストでは、どのように図像の準備図が説明されていますか？英語で出力して下さい。


subsection

博士たちの間のキリスト

Not until his second journey to Italy Dürer made detailed studies after living models before he worked out a final composition for paintings and engravings alike. The first preparatory drawings originate in Venice, all in the same technique: dark ink drawn with a brush, highlighted with white tempera, on large sheets of Venetian blue dyed paper . The blue color serves as a middle tone, a method he formerly applied in the Green Passion of 1504, and in drawings where he washed the background around the figures to obtain the same effect. Four preparatory drawings for the painting have survived, one of the infant's head  and a hand holding a book , a study of the hands counting off arguments, and a further drawing with two pairs of hands holding a book, of which only one Dürer finally incorporated into the picture .

Prompt: 博士たちの間のキリストの図像における準備図の特徴を説明してください。英語で出力して下さい。


subsection

博士たちの間のキリスト

The panel of Jesus among the Doctors has a usual underdrawing grounded with egg-tempera, but covered by just a tenuous layer of oil paint. In fact, it is made "in an almost impromptu fashion, a thin coat of color being applied in broad and fluid strokes utterly different from Dürer's normally meticulous brushwork," as Erwin Panofsky described it. Christof Metzger, chief curator of the Graphic Collection at the Albertina in Vienna, stated that the panel wasn't even finished. Both pairs of hands in the center show still the outlines and hatches of the underdrawing and are hardly colored at all. The two heads in the background, the one in the upper right corner and the one who is looking out of the picture appear unfinished. Copies of the panel in Germany from around 1600 serve as evidence that the image was known north of the Alps, so that Dürer might have brought the painting back with him to Nuremberg.The color palette is rather narrow, essentially two green tones for the cloaks of Jesus and two of the scholars, and a range of brown tones, from the darkened faces in the shadowy back, the book covers and the red cloak of the doctor on the right, the yellowish cap of the figure on the left, to the lighter skin colors and the broken white tones of hair, paper, and the chemise poking out at the wrist on the lower left corner and at the right hand of the doctor in profile; his cap finally is the largest bright part of the composition. The color range is expressively restrained compared to his interpretation on the altar-piece of the Seven Sorrows or the splendour of the Feast of the Rosary and the rich color conception of Italian Renaissance art.

Prompt: 博士たちの間のキリストの文脈で、絵画様式と図像を説明してください。英語で出力して下さい。

Albertina
Erwin Panofsky
Feast of the Rosary


subsection

博士たちの間のキリスト

The panel of Jesus among the Doctors has a usual underdrawing grounded with egg-tempera, but covered by just a tenuous layer of oil paint. In fact, it is made "in an almost impromptu fashion, a thin coat of color being applied in broad and fluid strokes utterly different from Dürer's normally meticulous brushwork," as Erwin Panofsky described it. Christof Metzger, chief curator of the Graphic Collection at the Albertina in Vienna, stated that the panel wasn't even finished. Both pairs of hands in the center show still the outlines and hatches of the underdrawing and are hardly colored at all. The two heads in the background, the one in the upper right corner and the one who is looking out of the picture appear unfinished. Copies of the panel in Germany from around 1600 serve as evidence that the image was known north of the Alps, so that Dürer might have brought the painting back with him to Nuremberg.The color palette is rather narrow, essentially two green tones for the cloaks of Jesus and two of the scholars, and a range of brown tones, from the darkened faces in the shadowy back, the book covers and the red cloak of the doctor on the right, the yellowish cap of the figure on the left, to the lighter skin colors and the broken white tones of hair, paper, and the chemise poking out at the wrist on the lower left corner and at the right hand of the doctor in profile; his cap finally is the largest bright part of the composition. The color range is expressively restrained compared to his interpretation on the altar-piece of the Seven Sorrows or the splendour of the Feast of the Rosary and the rich color conception of Italian Renaissance art.

Prompt: 博士たちの間のキリストの図像に関する絵画様式を説明してください。英語で出力して下さい。

Albertina
Erwin Panofsky
Feast of the Rosary


subsection

博士たちの間のキリスト

The panel of Jesus among the Doctors has a usual underdrawing grounded with egg-tempera, but covered by just a tenuous layer of oil paint. In fact, it is made "in an almost impromptu fashion, a thin coat of color being applied in broad and fluid strokes utterly different from Dürer's normally meticulous brushwork," as Erwin Panofsky described it. Christof Metzger, chief curator of the Graphic Collection at the Albertina in Vienna, stated that the panel wasn't even finished. Both pairs of hands in the center show still the outlines and hatches of the underdrawing and are hardly colored at all. The two heads in the background, the one in the upper right corner and the one who is looking out of the picture appear unfinished. Copies of the panel in Germany from around 1600 serve as evidence that the image was known north of the Alps, so that Dürer might have brought the painting back with him to Nuremberg.The color palette is rather narrow, essentially two green tones for the cloaks of Jesus and two of the scholars, and a range of brown tones, from the darkened faces in the shadowy back, the book covers and the red cloak of the doctor on the right, the yellowish cap of the figure on the left, to the lighter skin colors and the broken white tones of hair, paper, and the chemise poking out at the wrist on the lower left corner and at the right hand of the doctor in profile; his cap finally is the largest bright part of the composition. The color range is expressively restrained compared to his interpretation on the altar-piece of the Seven Sorrows or the splendour of the Feast of the Rosary and the rich color conception of Italian Renaissance art.

Prompt: 博士たちの間のキリストでは、どのように図像の絵画様式が説明されていますか？英語で出力して下さい。

Albertina
Erwin Panofsky
Feast of the Rosary


subsection

博士たちの間のキリスト

The panel of Jesus among the Doctors has a usual underdrawing grounded with egg-tempera, but covered by just a tenuous layer of oil paint. In fact, it is made "in an almost impromptu fashion, a thin coat of color being applied in broad and fluid strokes utterly different from Dürer's normally meticulous brushwork," as Erwin Panofsky described it. Christof Metzger, chief curator of the Graphic Collection at the Albertina in Vienna, stated that the panel wasn't even finished. Both pairs of hands in the center show still the outlines and hatches of the underdrawing and are hardly colored at all. The two heads in the background, the one in the upper right corner and the one who is looking out of the picture appear unfinished. Copies of the panel in Germany from around 1600 serve as evidence that the image was known north of the Alps, so that Dürer might have brought the painting back with him to Nuremberg.The color palette is rather narrow, essentially two green tones for the cloaks of Jesus and two of the scholars, and a range of brown tones, from the darkened faces in the shadowy back, the book covers and the red cloak of the doctor on the right, the yellowish cap of the figure on the left, to the lighter skin colors and the broken white tones of hair, paper, and the chemise poking out at the wrist on the lower left corner and at the right hand of the doctor in profile; his cap finally is the largest bright part of the composition. The color range is expressively restrained compared to his interpretation on the altar-piece of the Seven Sorrows or the splendour of the Feast of the Rosary and the rich color conception of Italian Renaissance art.

Prompt: 博士たちの間のキリストの図像における絵画様式の特徴を説明してください。英語で出力して下さい。

Albertina
Erwin Panofsky
Feast of the Rosary


subsection

博士たちの間のキリスト

As usual Dürer signed his work with his monogram and a date, displayed on an object within the scenery, like a little plaque  or a piece of paper, a veristic device to invite the beholder into the picture space and hence into the depicted drama, instead of just signing an essentially two-dimensional composition of brush strokes on the surface of a piece of wood. The inscription in Jesus among the Doctors is written on a bookmarker that sticks out of the folio at the bottom of the picture on the left. It reads: 1506/A. D./Opus quinque dierum, "made in five days".He produced the picture in this indeed rather short time to finish an oil painting, so that it was worth the inscription, probably due to the fact, that he prominently had to work on the Feast of the Rosary, commissioned by the German community in Venice residing at the Fondaco dei Tedeschi for their church . And with the Virgin with the Siskin and several commissioned portraits there was plenty of work to be done. But the inscription cannot have taken into account the time of the conception, not the preparatory studies nor the underdrawing. The "five days" may be also an ironic allusion to the "five month" he needed to finish the Rosary altarpiece, as he wrote in its inscription.Opposing the two paintings reveals two kinds of work, done in different "modes of creation", the certainly more accomplished altarpiece was meticulously planned and executed, while the other was done swiftly following an instant inspiration, like a stroke of a genius. Dürer much later expressed this "unheard of" idea, as he wrote in a "strange speech"  even for him, that some artist may sketch something in one day, that another won't achieve in a year, thus establishing a new "purely artistic" evaluation of an artwork, instead of the material needed and the amount of time spent. Unlike Alberti, whose writings he studied, Dürer became aware the "fundamental difference between the aesthetic value of the object represented in a work of art, and the aesthetic value of the work of art itself" , in which something ugly could be depicted beautifully by an able hand. "And this gift is miraculous" , Dürer said. He was well aware of his exceptional talent already at an early age and it is surely the main motivation behind his trademark monogram, besides his copyright concerns related to his printed work. However he even signed his preparatory drawings with it, which would have otherwise been unnecessary.

Prompt: 博士たちの間のキリストの文脈で、5日間で作られたと図像を説明してください。英語で出力して下さい。

Feast of the Rosary
Fondaco dei Tedeschi
Venice


subsection

博士たちの間のキリスト

As usual Dürer signed his work with his monogram and a date, displayed on an object within the scenery, like a little plaque  or a piece of paper, a veristic device to invite the beholder into the picture space and hence into the depicted drama, instead of just signing an essentially two-dimensional composition of brush strokes on the surface of a piece of wood. The inscription in Jesus among the Doctors is written on a bookmarker that sticks out of the folio at the bottom of the picture on the left. It reads: 1506/A. D./Opus quinque dierum, "made in five days".He produced the picture in this indeed rather short time to finish an oil painting, so that it was worth the inscription, probably due to the fact, that he prominently had to work on the Feast of the Rosary, commissioned by the German community in Venice residing at the Fondaco dei Tedeschi for their church . And with the Virgin with the Siskin and several commissioned portraits there was plenty of work to be done. But the inscription cannot have taken into account the time of the conception, not the preparatory studies nor the underdrawing. The "five days" may be also an ironic allusion to the "five month" he needed to finish the Rosary altarpiece, as he wrote in its inscription.Opposing the two paintings reveals two kinds of work, done in different "modes of creation", the certainly more accomplished altarpiece was meticulously planned and executed, while the other was done swiftly following an instant inspiration, like a stroke of a genius. Dürer much later expressed this "unheard of" idea, as he wrote in a "strange speech"  even for him, that some artist may sketch something in one day, that another won't achieve in a year, thus establishing a new "purely artistic" evaluation of an artwork, instead of the material needed and the amount of time spent. Unlike Alberti, whose writings he studied, Dürer became aware the "fundamental difference between the aesthetic value of the object represented in a work of art, and the aesthetic value of the work of art itself" , in which something ugly could be depicted beautifully by an able hand. "And this gift is miraculous" , Dürer said. He was well aware of his exceptional talent already at an early age and it is surely the main motivation behind his trademark monogram, besides his copyright concerns related to his printed work. However he even signed his preparatory drawings with it, which would have otherwise been unnecessary.

Prompt: 博士たちの間のキリストの図像に関する5日間で作られたを説明してください。英語で出力して下さい。

Feast of the Rosary
Fondaco dei Tedeschi
Venice


subsection

博士たちの間のキリスト

As usual Dürer signed his work with his monogram and a date, displayed on an object within the scenery, like a little plaque  or a piece of paper, a veristic device to invite the beholder into the picture space and hence into the depicted drama, instead of just signing an essentially two-dimensional composition of brush strokes on the surface of a piece of wood. The inscription in Jesus among the Doctors is written on a bookmarker that sticks out of the folio at the bottom of the picture on the left. It reads: 1506/A. D./Opus quinque dierum, "made in five days".He produced the picture in this indeed rather short time to finish an oil painting, so that it was worth the inscription, probably due to the fact, that he prominently had to work on the Feast of the Rosary, commissioned by the German community in Venice residing at the Fondaco dei Tedeschi for their church . And with the Virgin with the Siskin and several commissioned portraits there was plenty of work to be done. But the inscription cannot have taken into account the time of the conception, not the preparatory studies nor the underdrawing. The "five days" may be also an ironic allusion to the "five month" he needed to finish the Rosary altarpiece, as he wrote in its inscription.Opposing the two paintings reveals two kinds of work, done in different "modes of creation", the certainly more accomplished altarpiece was meticulously planned and executed, while the other was done swiftly following an instant inspiration, like a stroke of a genius. Dürer much later expressed this "unheard of" idea, as he wrote in a "strange speech"  even for him, that some artist may sketch something in one day, that another won't achieve in a year, thus establishing a new "purely artistic" evaluation of an artwork, instead of the material needed and the amount of time spent. Unlike Alberti, whose writings he studied, Dürer became aware the "fundamental difference between the aesthetic value of the object represented in a work of art, and the aesthetic value of the work of art itself" , in which something ugly could be depicted beautifully by an able hand. "And this gift is miraculous" , Dürer said. He was well aware of his exceptional talent already at an early age and it is surely the main motivation behind his trademark monogram, besides his copyright concerns related to his printed work. However he even signed his preparatory drawings with it, which would have otherwise been unnecessary.

Prompt: 博士たちの間のキリストでは、どのように図像の5日間で作られたが説明されていますか？英語で出力して下さい。

Feast of the Rosary
Fondaco dei Tedeschi
Venice


subsection

博士たちの間のキリスト

As usual Dürer signed his work with his monogram and a date, displayed on an object within the scenery, like a little plaque  or a piece of paper, a veristic device to invite the beholder into the picture space and hence into the depicted drama, instead of just signing an essentially two-dimensional composition of brush strokes on the surface of a piece of wood. The inscription in Jesus among the Doctors is written on a bookmarker that sticks out of the folio at the bottom of the picture on the left. It reads: 1506/A. D./Opus quinque dierum, "made in five days".He produced the picture in this indeed rather short time to finish an oil painting, so that it was worth the inscription, probably due to the fact, that he prominently had to work on the Feast of the Rosary, commissioned by the German community in Venice residing at the Fondaco dei Tedeschi for their church . And with the Virgin with the Siskin and several commissioned portraits there was plenty of work to be done. But the inscription cannot have taken into account the time of the conception, not the preparatory studies nor the underdrawing. The "five days" may be also an ironic allusion to the "five month" he needed to finish the Rosary altarpiece, as he wrote in its inscription.Opposing the two paintings reveals two kinds of work, done in different "modes of creation", the certainly more accomplished altarpiece was meticulously planned and executed, while the other was done swiftly following an instant inspiration, like a stroke of a genius. Dürer much later expressed this "unheard of" idea, as he wrote in a "strange speech"  even for him, that some artist may sketch something in one day, that another won't achieve in a year, thus establishing a new "purely artistic" evaluation of an artwork, instead of the material needed and the amount of time spent. Unlike Alberti, whose writings he studied, Dürer became aware the "fundamental difference between the aesthetic value of the object represented in a work of art, and the aesthetic value of the work of art itself" , in which something ugly could be depicted beautifully by an able hand. "And this gift is miraculous" , Dürer said. He was well aware of his exceptional talent already at an early age and it is surely the main motivation behind his trademark monogram, besides his copyright concerns related to his printed work. However he even signed his preparatory drawings with it, which would have otherwise been unnecessary.

Prompt: 博士たちの間のキリストの図像における5日間で作られたの特徴を説明してください。英語で出力して下さい。

Feast of the Rosary
Fondaco dei Tedeschi
Venice


subsection

博士たちの間のキリスト

The conception of a composition with several half-figures  in a neutral dark space was introduced by Andrea Mantegna, but may be traced back to reliefs by Donatello. There are no additions like furniture or architecture that would constitute a space, only the clothes of the figures and accessoires on them or held in their hands transmit meaning, but the dramatic aspect of the theme is exclusively displayed by facial expression, gesture and the spacial relation between the figures.Mantegna probably painted The Presentation at the Temple around 1455, when he married the sister of Giovanni Bellini, or on the occasion of the birth of their first child. The scene's protagonists are Mary, the Infant Jesus, Joseph  and Simeon, who is about to recognise the Messiah. The two added figures are sometimes considered to be portraits of Mantegna himself and his wife . Decades later Mantegna's brother-in-law painted a version of Presentation at the Temple traced from the original. Expanded with two more figures it was often similarly considered a Bellini family portrait .Mantegna died in Mantua in 1506, and there are no sources that would confirm Dürer ever met him personally, but through Bellini he learned about his work. In 1494 Dürer copied at least two engravings by Mantegna, Battle of the Sea Gods and Bacchanal with Silenus.Dürer became acquainted with Bellini on his  first stay in Venice in the mid-1490s. They very much respected each other. Bellini asked Dürer to paint a piece for him, and it was considered that Dürer maybe gave the Christ among the Doctors to him. Dürer wrote to his humanist friend Willibald Pirckheimer in Nuremberg that Bellini was "old, but that he was still the best" . At the time Dürer arrived in Venice in the summer of 1505, Bellini's San Zaccaria Altarpiece was erected and surely was an event talked about not only in artists circles. Dürer paid homage to him by incorporating the figure of the single lute-playing angel sitting in front of Mary's throne into his Feast of the Rosary. The free interpretation of Bellini's original figure shows how Dürer used to respond autonomously to inspirational ideas of others. The half-figure on the far right side of Christ Among the Doctors is said to be perhaps a citation of Giovanni Bellini, but it is more likely that the figure was copied from a painting by Mantegna. In his Adoration of the Magi from around 1500, conceived too as a picture-filling , the figure is also placed in the lower right corner. Dürer used this figure several times, in the Feast of the Rosary he was also working on at the time, the head appears somewhat hidden at the far left side of the panel.Both Presentation panels of Mantegna and Bellini have all personage and the beholder on almost equal height, whereas Dürer had tilted the ground plane resulting in a perspectival view from slightly above seemingly to gain depth of space and rectify the overcrowded scene. But the composition is "conceived flatly, and the spatial relations between the figures are so much neglected that we must interpret this lack of three-dimensionality as intentional." Maybe this was caused by the short time he spend on it, or he purposefully aimed for a contrasting statement against the Venetian sense for calmness and harmonic composition, as well as his own Feast of the Rosary. Without fail he emphasised the drama in his own Northern way.

Prompt: 博士たちの間のキリストの文脈で、マンテーニャとベッリーニと図像を説明してください。英語で出力して下さい。

Andrea Mantegna
Donatello
Feast of the Rosary
Giovanni Bellini
San Zaccaria Altarpiece
Venice
Willibald Pirckheimer


subsection

博士たちの間のキリスト

The conception of a composition with several half-figures  in a neutral dark space was introduced by Andrea Mantegna, but may be traced back to reliefs by Donatello. There are no additions like furniture or architecture that would constitute a space, only the clothes of the figures and accessoires on them or held in their hands transmit meaning, but the dramatic aspect of the theme is exclusively displayed by facial expression, gesture and the spacial relation between the figures.Mantegna probably painted The Presentation at the Temple around 1455, when he married the sister of Giovanni Bellini, or on the occasion of the birth of their first child. The scene's protagonists are Mary, the Infant Jesus, Joseph  and Simeon, who is about to recognise the Messiah. The two added figures are sometimes considered to be portraits of Mantegna himself and his wife . Decades later Mantegna's brother-in-law painted a version of Presentation at the Temple traced from the original. Expanded with two more figures it was often similarly considered a Bellini family portrait .Mantegna died in Mantua in 1506, and there are no sources that would confirm Dürer ever met him personally, but through Bellini he learned about his work. In 1494 Dürer copied at least two engravings by Mantegna, Battle of the Sea Gods and Bacchanal with Silenus.Dürer became acquainted with Bellini on his  first stay in Venice in the mid-1490s. They very much respected each other. Bellini asked Dürer to paint a piece for him, and it was considered that Dürer maybe gave the Christ among the Doctors to him. Dürer wrote to his humanist friend Willibald Pirckheimer in Nuremberg that Bellini was "old, but that he was still the best" . At the time Dürer arrived in Venice in the summer of 1505, Bellini's San Zaccaria Altarpiece was erected and surely was an event talked about not only in artists circles. Dürer paid homage to him by incorporating the figure of the single lute-playing angel sitting in front of Mary's throne into his Feast of the Rosary. The free interpretation of Bellini's original figure shows how Dürer used to respond autonomously to inspirational ideas of others. The half-figure on the far right side of Christ Among the Doctors is said to be perhaps a citation of Giovanni Bellini, but it is more likely that the figure was copied from a painting by Mantegna. In his Adoration of the Magi from around 1500, conceived too as a picture-filling , the figure is also placed in the lower right corner. Dürer used this figure several times, in the Feast of the Rosary he was also working on at the time, the head appears somewhat hidden at the far left side of the panel.Both Presentation panels of Mantegna and Bellini have all personage and the beholder on almost equal height, whereas Dürer had tilted the ground plane resulting in a perspectival view from slightly above seemingly to gain depth of space and rectify the overcrowded scene. But the composition is "conceived flatly, and the spatial relations between the figures are so much neglected that we must interpret this lack of three-dimensionality as intentional." Maybe this was caused by the short time he spend on it, or he purposefully aimed for a contrasting statement against the Venetian sense for calmness and harmonic composition, as well as his own Feast of the Rosary. Without fail he emphasised the drama in his own Northern way.

Prompt: 博士たちの間のキリストの図像に関するマンテーニャとベッリーニを説明してください。英語で出力して下さい。

Andrea Mantegna
Donatello
Feast of the Rosary
Giovanni Bellini
San Zaccaria Altarpiece
Venice
Willibald Pirckheimer


subsection

博士たちの間のキリスト

The conception of a composition with several half-figures  in a neutral dark space was introduced by Andrea Mantegna, but may be traced back to reliefs by Donatello. There are no additions like furniture or architecture that would constitute a space, only the clothes of the figures and accessoires on them or held in their hands transmit meaning, but the dramatic aspect of the theme is exclusively displayed by facial expression, gesture and the spacial relation between the figures.Mantegna probably painted The Presentation at the Temple around 1455, when he married the sister of Giovanni Bellini, or on the occasion of the birth of their first child. The scene's protagonists are Mary, the Infant Jesus, Joseph  and Simeon, who is about to recognise the Messiah. The two added figures are sometimes considered to be portraits of Mantegna himself and his wife . Decades later Mantegna's brother-in-law painted a version of Presentation at the Temple traced from the original. Expanded with two more figures it was often similarly considered a Bellini family portrait .Mantegna died in Mantua in 1506, and there are no sources that would confirm Dürer ever met him personally, but through Bellini he learned about his work. In 1494 Dürer copied at least two engravings by Mantegna, Battle of the Sea Gods and Bacchanal with Silenus.Dürer became acquainted with Bellini on his  first stay in Venice in the mid-1490s. They very much respected each other. Bellini asked Dürer to paint a piece for him, and it was considered that Dürer maybe gave the Christ among the Doctors to him. Dürer wrote to his humanist friend Willibald Pirckheimer in Nuremberg that Bellini was "old, but that he was still the best" . At the time Dürer arrived in Venice in the summer of 1505, Bellini's San Zaccaria Altarpiece was erected and surely was an event talked about not only in artists circles. Dürer paid homage to him by incorporating the figure of the single lute-playing angel sitting in front of Mary's throne into his Feast of the Rosary. The free interpretation of Bellini's original figure shows how Dürer used to respond autonomously to inspirational ideas of others. The half-figure on the far right side of Christ Among the Doctors is said to be perhaps a citation of Giovanni Bellini, but it is more likely that the figure was copied from a painting by Mantegna. In his Adoration of the Magi from around 1500, conceived too as a picture-filling , the figure is also placed in the lower right corner. Dürer used this figure several times, in the Feast of the Rosary he was also working on at the time, the head appears somewhat hidden at the far left side of the panel.Both Presentation panels of Mantegna and Bellini have all personage and the beholder on almost equal height, whereas Dürer had tilted the ground plane resulting in a perspectival view from slightly above seemingly to gain depth of space and rectify the overcrowded scene. But the composition is "conceived flatly, and the spatial relations between the figures are so much neglected that we must interpret this lack of three-dimensionality as intentional." Maybe this was caused by the short time he spend on it, or he purposefully aimed for a contrasting statement against the Venetian sense for calmness and harmonic composition, as well as his own Feast of the Rosary. Without fail he emphasised the drama in his own Northern way.

Prompt: 博士たちの間のキリストでは、どのように図像のマンテーニャとベッリーニが説明されていますか？英語で出力して下さい。

Andrea Mantegna
Donatello
Feast of the Rosary
Giovanni Bellini
San Zaccaria Altarpiece
Venice
Willibald Pirckheimer


subsection

博士たちの間のキリスト

The conception of a composition with several half-figures  in a neutral dark space was introduced by Andrea Mantegna, but may be traced back to reliefs by Donatello. There are no additions like furniture or architecture that would constitute a space, only the clothes of the figures and accessoires on them or held in their hands transmit meaning, but the dramatic aspect of the theme is exclusively displayed by facial expression, gesture and the spacial relation between the figures.Mantegna probably painted The Presentation at the Temple around 1455, when he married the sister of Giovanni Bellini, or on the occasion of the birth of their first child. The scene's protagonists are Mary, the Infant Jesus, Joseph  and Simeon, who is about to recognise the Messiah. The two added figures are sometimes considered to be portraits of Mantegna himself and his wife . Decades later Mantegna's brother-in-law painted a version of Presentation at the Temple traced from the original. Expanded with two more figures it was often similarly considered a Bellini family portrait .Mantegna died in Mantua in 1506, and there are no sources that would confirm Dürer ever met him personally, but through Bellini he learned about his work. In 1494 Dürer copied at least two engravings by Mantegna, Battle of the Sea Gods and Bacchanal with Silenus.Dürer became acquainted with Bellini on his  first stay in Venice in the mid-1490s. They very much respected each other. Bellini asked Dürer to paint a piece for him, and it was considered that Dürer maybe gave the Christ among the Doctors to him. Dürer wrote to his humanist friend Willibald Pirckheimer in Nuremberg that Bellini was "old, but that he was still the best" . At the time Dürer arrived in Venice in the summer of 1505, Bellini's San Zaccaria Altarpiece was erected and surely was an event talked about not only in artists circles. Dürer paid homage to him by incorporating the figure of the single lute-playing angel sitting in front of Mary's throne into his Feast of the Rosary. The free interpretation of Bellini's original figure shows how Dürer used to respond autonomously to inspirational ideas of others. The half-figure on the far right side of Christ Among the Doctors is said to be perhaps a citation of Giovanni Bellini, but it is more likely that the figure was copied from a painting by Mantegna. In his Adoration of the Magi from around 1500, conceived too as a picture-filling , the figure is also placed in the lower right corner. Dürer used this figure several times, in the Feast of the Rosary he was also working on at the time, the head appears somewhat hidden at the far left side of the panel.Both Presentation panels of Mantegna and Bellini have all personage and the beholder on almost equal height, whereas Dürer had tilted the ground plane resulting in a perspectival view from slightly above seemingly to gain depth of space and rectify the overcrowded scene. But the composition is "conceived flatly, and the spatial relations between the figures are so much neglected that we must interpret this lack of three-dimensionality as intentional." Maybe this was caused by the short time he spend on it, or he purposefully aimed for a contrasting statement against the Venetian sense for calmness and harmonic composition, as well as his own Feast of the Rosary. Without fail he emphasised the drama in his own Northern way.

Prompt: 博士たちの間のキリストの図像におけるマンテーニャとベッリーニの特徴を説明してください。英語で出力して下さい。

Andrea Mantegna
Donatello
Feast of the Rosary
Giovanni Bellini
San Zaccaria Altarpiece
Venice
Willibald Pirckheimer


subsection

博士たちの間のキリスト

The panel of Christ among the Doctors by Cima da Conegliano is assessed to have preceded Dürer's painting about a year or two. Cima followed the local tradition established by Mantegna and Bellini. About thirty copies and variations of their composition alone are known. And the conception with half-figures with a neutral background lend itself to other biblical episodes and sacred conversations produced in northern Italy.Cima took the scene out of its narrative context and created an autonomous symbolic composition. The overriding theme is the divine knowledge through Christ as Alpha and Omega. He left Mary and Joseph out of the picture and concentrated the image on the theological debate, emphasised by the traditional motif of hands enumerating points on the fingers . The gesture is depicted slightly off center to the right, the right hand reaching for the left, just like in the Dürer painting. But here it forms a diagonal with Christ's head, which reruns in parallels elegantly through the whole composition. And the personage, whose diversity is illustrated by their clothes, form a half-circle around the Christ Child, already generating a deeper space than the panels by Mantegna and Bellini. Still further similarities with Dürer's panel can be seen on the left side of Cima's painting, where a scholar tries to interrupt Jesus by touching him at his arm, while the doctor on the extreme left seems to have understood the child and begins to rip of the pages from his folio. Since Cima's "classical composition could not have been produced as an echo of Dürer's "Gothic" unrest," it seems more likely that Dürer developed his composition from Cima's, than the other way around.The theme of Jesus among the Doctors became popular in Italy in the 16th century. In 1504 Isabella d'Este commissioned Leonardo to paint the Infant Jesus, but nothing came of that. The later painting by Bernardino Luini was assumed to have been inspired by or even copied from an assumed lost composition by Leonardo. But this dependency is rejected and the lost work by Leonardo dismissed, despite some resemblance particularly of the young Jesus with Leonardo's style. Apart from that, Luni's work appears more like a devotional image in a traditional way. Christ stands in the foreground, faces the beholder and addresses him, leaving the doctors behind him merely as staffage, the conflict muted.

Prompt: 博士たちの間のキリストの文脈で、チマダコネリアーノ、ベルナルディーノ・ルイーニと図像を説明してください。英語で出力して下さい。

Alpha and Omega
Bernardino Luini
Cima da Conegliano
Isabella d'Este
Italy


subsection

博士たちの間のキリスト

The panel of Christ among the Doctors by Cima da Conegliano is assessed to have preceded Dürer's painting about a year or two. Cima followed the local tradition established by Mantegna and Bellini. About thirty copies and variations of their composition alone are known. And the conception with half-figures with a neutral background lend itself to other biblical episodes and sacred conversations produced in northern Italy.Cima took the scene out of its narrative context and created an autonomous symbolic composition. The overriding theme is the divine knowledge through Christ as Alpha and Omega. He left Mary and Joseph out of the picture and concentrated the image on the theological debate, emphasised by the traditional motif of hands enumerating points on the fingers . The gesture is depicted slightly off center to the right, the right hand reaching for the left, just like in the Dürer painting. But here it forms a diagonal with Christ's head, which reruns in parallels elegantly through the whole composition. And the personage, whose diversity is illustrated by their clothes, form a half-circle around the Christ Child, already generating a deeper space than the panels by Mantegna and Bellini. Still further similarities with Dürer's panel can be seen on the left side of Cima's painting, where a scholar tries to interrupt Jesus by touching him at his arm, while the doctor on the extreme left seems to have understood the child and begins to rip of the pages from his folio. Since Cima's "classical composition could not have been produced as an echo of Dürer's "Gothic" unrest," it seems more likely that Dürer developed his composition from Cima's, than the other way around.The theme of Jesus among the Doctors became popular in Italy in the 16th century. In 1504 Isabella d'Este commissioned Leonardo to paint the Infant Jesus, but nothing came of that. The later painting by Bernardino Luini was assumed to have been inspired by or even copied from an assumed lost composition by Leonardo. But this dependency is rejected and the lost work by Leonardo dismissed, despite some resemblance particularly of the young Jesus with Leonardo's style. Apart from that, Luni's work appears more like a devotional image in a traditional way. Christ stands in the foreground, faces the beholder and addresses him, leaving the doctors behind him merely as staffage, the conflict muted.

Prompt: 博士たちの間のキリストの図像に関するチマダコネリアーノ、ベルナルディーノ・ルイーニを説明してください。英語で出力して下さい。

Alpha and Omega
Bernardino Luini
Cima da Conegliano
Isabella d'Este
Italy


subsection

博士たちの間のキリスト

The panel of Christ among the Doctors by Cima da Conegliano is assessed to have preceded Dürer's painting about a year or two. Cima followed the local tradition established by Mantegna and Bellini. About thirty copies and variations of their composition alone are known. And the conception with half-figures with a neutral background lend itself to other biblical episodes and sacred conversations produced in northern Italy.Cima took the scene out of its narrative context and created an autonomous symbolic composition. The overriding theme is the divine knowledge through Christ as Alpha and Omega. He left Mary and Joseph out of the picture and concentrated the image on the theological debate, emphasised by the traditional motif of hands enumerating points on the fingers . The gesture is depicted slightly off center to the right, the right hand reaching for the left, just like in the Dürer painting. But here it forms a diagonal with Christ's head, which reruns in parallels elegantly through the whole composition. And the personage, whose diversity is illustrated by their clothes, form a half-circle around the Christ Child, already generating a deeper space than the panels by Mantegna and Bellini. Still further similarities with Dürer's panel can be seen on the left side of Cima's painting, where a scholar tries to interrupt Jesus by touching him at his arm, while the doctor on the extreme left seems to have understood the child and begins to rip of the pages from his folio. Since Cima's "classical composition could not have been produced as an echo of Dürer's "Gothic" unrest," it seems more likely that Dürer developed his composition from Cima's, than the other way around.The theme of Jesus among the Doctors became popular in Italy in the 16th century. In 1504 Isabella d'Este commissioned Leonardo to paint the Infant Jesus, but nothing came of that. The later painting by Bernardino Luini was assumed to have been inspired by or even copied from an assumed lost composition by Leonardo. But this dependency is rejected and the lost work by Leonardo dismissed, despite some resemblance particularly of the young Jesus with Leonardo's style. Apart from that, Luni's work appears more like a devotional image in a traditional way. Christ stands in the foreground, faces the beholder and addresses him, leaving the doctors behind him merely as staffage, the conflict muted.

Prompt: 博士たちの間のキリストでは、どのように図像のチマダコネリアーノ、ベルナルディーノ・ルイーニが説明されていますか？英語で出力して下さい。

Alpha and Omega
Bernardino Luini
Cima da Conegliano
Isabella d'Este
Italy


subsection

博士たちの間のキリスト

The panel of Christ among the Doctors by Cima da Conegliano is assessed to have preceded Dürer's painting about a year or two. Cima followed the local tradition established by Mantegna and Bellini. About thirty copies and variations of their composition alone are known. And the conception with half-figures with a neutral background lend itself to other biblical episodes and sacred conversations produced in northern Italy.Cima took the scene out of its narrative context and created an autonomous symbolic composition. The overriding theme is the divine knowledge through Christ as Alpha and Omega. He left Mary and Joseph out of the picture and concentrated the image on the theological debate, emphasised by the traditional motif of hands enumerating points on the fingers . The gesture is depicted slightly off center to the right, the right hand reaching for the left, just like in the Dürer painting. But here it forms a diagonal with Christ's head, which reruns in parallels elegantly through the whole composition. And the personage, whose diversity is illustrated by their clothes, form a half-circle around the Christ Child, already generating a deeper space than the panels by Mantegna and Bellini. Still further similarities with Dürer's panel can be seen on the left side of Cima's painting, where a scholar tries to interrupt Jesus by touching him at his arm, while the doctor on the extreme left seems to have understood the child and begins to rip of the pages from his folio. Since Cima's "classical composition could not have been produced as an echo of Dürer's "Gothic" unrest," it seems more likely that Dürer developed his composition from Cima's, than the other way around.The theme of Jesus among the Doctors became popular in Italy in the 16th century. In 1504 Isabella d'Este commissioned Leonardo to paint the Infant Jesus, but nothing came of that. The later painting by Bernardino Luini was assumed to have been inspired by or even copied from an assumed lost composition by Leonardo. But this dependency is rejected and the lost work by Leonardo dismissed, despite some resemblance particularly of the young Jesus with Leonardo's style. Apart from that, Luni's work appears more like a devotional image in a traditional way. Christ stands in the foreground, faces the beholder and addresses him, leaving the doctors behind him merely as staffage, the conflict muted.

Prompt: 博士たちの間のキリストの図像におけるチマダコネリアーノ、ベルナルディーノ・ルイーニの特徴を説明してください。英語で出力して下さい。

Alpha and Omega
Bernardino Luini
Cima da Conegliano
Isabella d'Este
Italy


section

コンタリーニの聖母

The Contarini Madonna  is an   oil painting by the Italian Renaissance master Giovanni Bellini, dating from c. 1475–1480 now in the Gallerie dell'Accademia in Venice.

Prompt: コンタリーニ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。

Gallerie dell'Accademia
Giovanni Bellini
Venice


section

コンタリーニの聖母

The Contarini Madonna  is an   oil painting by the Italian Renaissance master Giovanni Bellini, dating from c. 1475–1480 now in the Gallerie dell'Accademia in Venice.

Prompt: コンタリーニ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。

Gallerie dell'Accademia
Giovanni Bellini
Venice


section

コンタリーニの聖母

The Contarini Madonna  is an   oil painting by the Italian Renaissance master Giovanni Bellini, dating from c. 1475–1480 now in the Gallerie dell'Accademia in Venice.

Prompt: コンタリーニ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。

Gallerie dell'Accademia
Giovanni Bellini
Venice


section

コンタリーニの聖母

The Contarini Madonna  is an   oil painting by the Italian Renaissance master Giovanni Bellini, dating from c. 1475–1480 now in the Gallerie dell'Accademia in Venice.

Prompt: コンタリーニの聖母に関して、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。

Gallerie dell'Accademia
Giovanni Bellini
Venice


section

コンタリーニの聖母

The painting shows the Madonna holding Jesus who stands on a parapet in the foreground. Below is a cartouche with the artist's signature,  IOANNES BELLINVS. The blessing Child has similar features to that in the San Giobbe Altarpiece, dating to the same decade or a few years later. His icon-like staring appearance recalls the Byzantine painting, which was one of the roots of the Venetian painting school. The background is formed by a soft landscape, with hills and a city with towers.

Prompt: コンタリーニ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。

Byzantine painting
Jesus
San Giobbe Altarpiece


section

コンタリーニの聖母

The painting shows the Madonna holding Jesus who stands on a parapet in the foreground. Below is a cartouche with the artist's signature,  IOANNES BELLINVS. The blessing Child has similar features to that in the San Giobbe Altarpiece, dating to the same decade or a few years later. His icon-like staring appearance recalls the Byzantine painting, which was one of the roots of the Venetian painting school. The background is formed by a soft landscape, with hills and a city with towers.

Prompt: コンタリーニ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。

Byzantine painting
Jesus
San Giobbe Altarpiece


section

コンタリーニの聖母

The painting shows the Madonna holding Jesus who stands on a parapet in the foreground. Below is a cartouche with the artist's signature,  IOANNES BELLINVS. The blessing Child has similar features to that in the San Giobbe Altarpiece, dating to the same decade or a few years later. His icon-like staring appearance recalls the Byzantine painting, which was one of the roots of the Venetian painting school. The background is formed by a soft landscape, with hills and a city with towers.

Prompt: コンタリーニの聖母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。

Byzantine painting
Jesus
San Giobbe Altarpiece


section

コンタリーニの聖母

The painting shows the Madonna holding Jesus who stands on a parapet in the foreground. Below is a cartouche with the artist's signature,  IOANNES BELLINVS. The blessing Child has similar features to that in the San Giobbe Altarpiece, dating to the same decade or a few years later. His icon-like staring appearance recalls the Byzantine painting, which was one of the roots of the Venetian painting school. The background is formed by a soft landscape, with hills and a city with towers.

Prompt: コンタリーニの聖母に関して、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。

Byzantine painting
Jesus
San Giobbe Altarpiece


section

コンタリーニの聖母

Prompt: コンタリーニの聖母に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

コンタリーニの聖母

Prompt: コンタリーニの聖母の参照を説明してください。英語で出力して下さい。


section

コンタリーニの聖母

Prompt: コンタリーニの聖母はどのように参照を説明していますか？英語で出力して下さい。


section

コンタリーニの聖母

Prompt: コンタリーニの聖母に関して、どのように参照が議論されていますか？英語で出力して下さい。


section

若い婦人に贈り物をするヴィーナスと三美神

Venus and the Three Graces Presenting Gifts to a Young Woman, also known as Giovanna degli Albizzi Receiving a Gift of Flowers from Venus , is a fresco painting by the Italian Renaissance painter Sandro Botticelli of circa 1483–1486. The painting and its companion piece, A Young Man Being Introduced to the Seven Liberal Arts, originally decorated the walls of Villa Lemmi, a country villa near Florence owned by Giovanni Tornabuoni, uncle of Lorenzo de' Medici and head of the Roman branch of the Medici Bank. They were probably commissioned for the wedding in 1486 of Giovanni's son Lorenzo to Giovanna of the Albizzi family, and are therefore thought to depict the two.Venus and the Three Graces Presenting Gifts to a Young Woman shows a young woman, probably Giovanna Tornabuoni, being received by Venus and the three Graces. Giovanna holds open a white cloth, into which Venus is laying roses symbolizing beauty and love.

Prompt: 若い婦人に贈り物をするヴィーナスと三美神に焦点を当てて、その抽象を説明してください。英語で出力して下さい。


section

若い婦人に贈り物をするヴィーナスと三美神

Venus and the Three Graces Presenting Gifts to a Young Woman, also known as Giovanna degli Albizzi Receiving a Gift of Flowers from Venus , is a fresco painting by the Italian Renaissance painter Sandro Botticelli of circa 1483–1486. The painting and its companion piece, A Young Man Being Introduced to the Seven Liberal Arts, originally decorated the walls of Villa Lemmi, a country villa near Florence owned by Giovanni Tornabuoni, uncle of Lorenzo de' Medici and head of the Roman branch of the Medici Bank. They were probably commissioned for the wedding in 1486 of Giovanni's son Lorenzo to Giovanna of the Albizzi family, and are therefore thought to depict the two.Venus and the Three Graces Presenting Gifts to a Young Woman shows a young woman, probably Giovanna Tornabuoni, being received by Venus and the three Graces. Giovanna holds open a white cloth, into which Venus is laying roses symbolizing beauty and love.

Prompt: 若い婦人に贈り物をするヴィーナスと三美神の抽象を説明してください。英語で出力して下さい。


section

若い婦人に贈り物をするヴィーナスと三美神

Venus and the Three Graces Presenting Gifts to a Young Woman, also known as Giovanna degli Albizzi Receiving a Gift of Flowers from Venus , is a fresco painting by the Italian Renaissance painter Sandro Botticelli of circa 1483–1486. The painting and its companion piece, A Young Man Being Introduced to the Seven Liberal Arts, originally decorated the walls of Villa Lemmi, a country villa near Florence owned by Giovanni Tornabuoni, uncle of Lorenzo de' Medici and head of the Roman branch of the Medici Bank. They were probably commissioned for the wedding in 1486 of Giovanni's son Lorenzo to Giovanna of the Albizzi family, and are therefore thought to depict the two.Venus and the Three Graces Presenting Gifts to a Young Woman shows a young woman, probably Giovanna Tornabuoni, being received by Venus and the three Graces. Giovanna holds open a white cloth, into which Venus is laying roses symbolizing beauty and love.

Prompt: 若い婦人に贈り物をするヴィーナスと三美神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

若い婦人に贈り物をするヴィーナスと三美神

Venus and the Three Graces Presenting Gifts to a Young Woman, also known as Giovanna degli Albizzi Receiving a Gift of Flowers from Venus , is a fresco painting by the Italian Renaissance painter Sandro Botticelli of circa 1483–1486. The painting and its companion piece, A Young Man Being Introduced to the Seven Liberal Arts, originally decorated the walls of Villa Lemmi, a country villa near Florence owned by Giovanni Tornabuoni, uncle of Lorenzo de' Medici and head of the Roman branch of the Medici Bank. They were probably commissioned for the wedding in 1486 of Giovanni's son Lorenzo to Giovanna of the Albizzi family, and are therefore thought to depict the two.Venus and the Three Graces Presenting Gifts to a Young Woman shows a young woman, probably Giovanna Tornabuoni, being received by Venus and the three Graces. Giovanna holds open a white cloth, into which Venus is laying roses symbolizing beauty and love.

Prompt: 若い婦人に贈り物をするヴィーナスと三美神に関して、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

若い婦人に贈り物をするヴィーナスと三美神

Venus and the Three Graces Presenting Gifts to a Young Woman

Prompt: 若い婦人に贈り物をするヴィーナスと三美神に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

若い婦人に贈り物をするヴィーナスと三美神

Venus and the Three Graces Presenting Gifts to a Young Woman

Prompt: 若い婦人に贈り物をするヴィーナスと三美神の参照を説明してください。英語で出力して下さい。


section

若い婦人に贈り物をするヴィーナスと三美神

Venus and the Three Graces Presenting Gifts to a Young Woman

Prompt: 若い婦人に贈り物をするヴィーナスと三美神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

若い婦人に贈り物をするヴィーナスと三美神

Venus and the Three Graces Presenting Gifts to a Young Woman

Prompt: 若い婦人に贈り物をするヴィーナスと三美神に関して、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

人生の踊り

A Dance to the Music of Time is a painting by Nicolas Poussin in the Wallace Collection in London. It was painted between  and 1636 as a commission for Giulio Rospigliosi , who according to Gian Pietro Bellori dictated its detailed iconography. The identity of the figures remains uncertain, with differing accounts.The painting is well known for giving its name to the A Dance to the Music of Time novel cycle, though this title is first seen in a Wallace Collection catalogue of 1913. Before that it was given titles referring to the Four Seasons. In the 1845 sale it was called  Danse des Saisons, ou l'Image de la vie humaine. The Bibliothèque nationale de France lists it with three different French titles.

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

A Dance to the Music of Time
Bibliothèque nationale de France
London
Nicolas Poussin
Season
Wallace Collection


section

人生の踊り

A Dance to the Music of Time is a painting by Nicolas Poussin in the Wallace Collection in London. It was painted between  and 1636 as a commission for Giulio Rospigliosi , who according to Gian Pietro Bellori dictated its detailed iconography. The identity of the figures remains uncertain, with differing accounts.The painting is well known for giving its name to the A Dance to the Music of Time novel cycle, though this title is first seen in a Wallace Collection catalogue of 1913. Before that it was given titles referring to the Four Seasons. In the 1845 sale it was called  Danse des Saisons, ou l'Image de la vie humaine. The Bibliothèque nationale de France lists it with three different French titles.

Prompt: 人生の踊りの抽象を説明してください。英語で出力して下さい。

A Dance to the Music of Time
Bibliothèque nationale de France
London
Nicolas Poussin
Season
Wallace Collection


section

人生の踊り

A Dance to the Music of Time is a painting by Nicolas Poussin in the Wallace Collection in London. It was painted between  and 1636 as a commission for Giulio Rospigliosi , who according to Gian Pietro Bellori dictated its detailed iconography. The identity of the figures remains uncertain, with differing accounts.The painting is well known for giving its name to the A Dance to the Music of Time novel cycle, though this title is first seen in a Wallace Collection catalogue of 1913. Before that it was given titles referring to the Four Seasons. In the 1845 sale it was called  Danse des Saisons, ou l'Image de la vie humaine. The Bibliothèque nationale de France lists it with three different French titles.

Prompt: 人生の踊り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。

A Dance to the Music of Time
Bibliothèque nationale de France
London
Nicolas Poussin
Season
Wallace Collection


section

人生の踊り

A Dance to the Music of Time is a painting by Nicolas Poussin in the Wallace Collection in London. It was painted between  and 1636 as a commission for Giulio Rospigliosi , who according to Gian Pietro Bellori dictated its detailed iconography. The identity of the figures remains uncertain, with differing accounts.The painting is well known for giving its name to the A Dance to the Music of Time novel cycle, though this title is first seen in a Wallace Collection catalogue of 1913. Before that it was given titles referring to the Four Seasons. In the 1845 sale it was called  Danse des Saisons, ou l'Image de la vie humaine. The Bibliothèque nationale de France lists it with three different French titles.

Prompt: 人生の踊りに関して、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。

A Dance to the Music of Time
Bibliothèque nationale de France
London
Nicolas Poussin
Season
Wallace Collection


section

人生の踊り

There are four figures, holding each other by the hand, dancing in a circle, as Time plays a lyre on the right.  The scene is set in the early morning, with Aurora, goddess of dawn, preceding the chariot of Apollo the sun-god in the sky behind; the Hours accompany him and he holds a ring representing the Zodiac.According to Bellori, the subject was devised by Rospigliosi. The four dancers represented, beginning with the one at the back seen mostly from behind: Poverty, bour, Riches, and Pleasure or Luxury. These represent a progression in human life, completed by Pleasure or Luxury leading to Poverty again. As the Four Seasons Poverty would be Autumn, bour Winter, and so on. The suggestion of Anthony Blunt that, unusually for a group of the seasons, Autumn/Poverty at the rear of the group was male is now generally accepted, and the museum now describe him as Bacchus. This follows the story invented by Boitet de Frauville in his Les Dionysiaques that, responding to complaints from the Seasons and Time, Jupiter gave the world Bacchus and his wine in order to compensate for the miserable living conditions mortals must endure.  André Félibien, the friend and biographer of Poussin, explained the picture in the same terms, except that where Bellori identified Summer with Luxury, Félibien said that it represented Pleasure.These identifications are disputed by Malcolm Bull, at least as the original intention. He traces the iconography of the painting to the te Greek poet Nonnus, reflected in the Hymne de l'Automme of Pierre de Ronsard. Nonnus' descriptions of the four seasons, as translated into French, are closely followed by Poussin: "on the left is Spring, with a garland of roses in her hair; at the back is Autumn, whose hair has been cropped by the winds but whose brow is wreathed with olive branches; Winter is next, with her bound hair and shadowed face, and at the front is Summer, dressed in white with ears of corn in the braids of her hair."  Bacchus himself appears, in his double aspect as a young and old figure, in the herma at left. Bull suggests that Rospigliosi, an intellectual and author with a taste for allegory, invented the other interpretation "during or after its completion", while Ingamells feels that "Poussin was not unduly concerned with the precise identification of the figures".There are several pentimenti, including the removal of a second, larger, tree on the right between Winter/bour and Time.The painting is in generally good condition, but has been retouched in places, including over the repair of a large L-shaped tear running right through the central group.

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

André Félibien
Anthony Blunt
Apollo
Boitet de Frauville
Nonnus
Pierre de Ronsard
Season
Zodiac


section

人生の踊り

There are four figures, holding each other by the hand, dancing in a circle, as Time plays a lyre on the right.  The scene is set in the early morning, with Aurora, goddess of dawn, preceding the chariot of Apollo the sun-god in the sky behind; the Hours accompany him and he holds a ring representing the Zodiac.According to Bellori, the subject was devised by Rospigliosi. The four dancers represented, beginning with the one at the back seen mostly from behind: Poverty, bour, Riches, and Pleasure or Luxury. These represent a progression in human life, completed by Pleasure or Luxury leading to Poverty again. As the Four Seasons Poverty would be Autumn, bour Winter, and so on. The suggestion of Anthony Blunt that, unusually for a group of the seasons, Autumn/Poverty at the rear of the group was male is now generally accepted, and the museum now describe him as Bacchus. This follows the story invented by Boitet de Frauville in his Les Dionysiaques that, responding to complaints from the Seasons and Time, Jupiter gave the world Bacchus and his wine in order to compensate for the miserable living conditions mortals must endure.  André Félibien, the friend and biographer of Poussin, explained the picture in the same terms, except that where Bellori identified Summer with Luxury, Félibien said that it represented Pleasure.These identifications are disputed by Malcolm Bull, at least as the original intention. He traces the iconography of the painting to the te Greek poet Nonnus, reflected in the Hymne de l'Automme of Pierre de Ronsard. Nonnus' descriptions of the four seasons, as translated into French, are closely followed by Poussin: "on the left is Spring, with a garland of roses in her hair; at the back is Autumn, whose hair has been cropped by the winds but whose brow is wreathed with olive branches; Winter is next, with her bound hair and shadowed face, and at the front is Summer, dressed in white with ears of corn in the braids of her hair."  Bacchus himself appears, in his double aspect as a young and old figure, in the herma at left. Bull suggests that Rospigliosi, an intellectual and author with a taste for allegory, invented the other interpretation "during or after its completion", while Ingamells feels that "Poussin was not unduly concerned with the precise identification of the figures".There are several pentimenti, including the removal of a second, larger, tree on the right between Winter/bour and Time.The painting is in generally good condition, but has been retouched in places, including over the repair of a large L-shaped tear running right through the central group.

Prompt: 人生の踊りの説明を説明してください。英語で出力して下さい。

André Félibien
Anthony Blunt
Apollo
Boitet de Frauville
Nonnus
Pierre de Ronsard
Season
Zodiac


section

人生の踊り

There are four figures, holding each other by the hand, dancing in a circle, as Time plays a lyre on the right.  The scene is set in the early morning, with Aurora, goddess of dawn, preceding the chariot of Apollo the sun-god in the sky behind; the Hours accompany him and he holds a ring representing the Zodiac.According to Bellori, the subject was devised by Rospigliosi. The four dancers represented, beginning with the one at the back seen mostly from behind: Poverty, bour, Riches, and Pleasure or Luxury. These represent a progression in human life, completed by Pleasure or Luxury leading to Poverty again. As the Four Seasons Poverty would be Autumn, bour Winter, and so on. The suggestion of Anthony Blunt that, unusually for a group of the seasons, Autumn/Poverty at the rear of the group was male is now generally accepted, and the museum now describe him as Bacchus. This follows the story invented by Boitet de Frauville in his Les Dionysiaques that, responding to complaints from the Seasons and Time, Jupiter gave the world Bacchus and his wine in order to compensate for the miserable living conditions mortals must endure.  André Félibien, the friend and biographer of Poussin, explained the picture in the same terms, except that where Bellori identified Summer with Luxury, Félibien said that it represented Pleasure.These identifications are disputed by Malcolm Bull, at least as the original intention. He traces the iconography of the painting to the te Greek poet Nonnus, reflected in the Hymne de l'Automme of Pierre de Ronsard. Nonnus' descriptions of the four seasons, as translated into French, are closely followed by Poussin: "on the left is Spring, with a garland of roses in her hair; at the back is Autumn, whose hair has been cropped by the winds but whose brow is wreathed with olive branches; Winter is next, with her bound hair and shadowed face, and at the front is Summer, dressed in white with ears of corn in the braids of her hair."  Bacchus himself appears, in his double aspect as a young and old figure, in the herma at left. Bull suggests that Rospigliosi, an intellectual and author with a taste for allegory, invented the other interpretation "during or after its completion", while Ingamells feels that "Poussin was not unduly concerned with the precise identification of the figures".There are several pentimenti, including the removal of a second, larger, tree on the right between Winter/bour and Time.The painting is in generally good condition, but has been retouched in places, including over the repair of a large L-shaped tear running right through the central group.

Prompt: 人生の踊り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。

André Félibien
Anthony Blunt
Apollo
Boitet de Frauville
Nonnus
Pierre de Ronsard
Season
Zodiac


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人生の踊り

There are four figures, holding each other by the hand, dancing in a circle, as Time plays a lyre on the right.  The scene is set in the early morning, with Aurora, goddess of dawn, preceding the chariot of Apollo the sun-god in the sky behind; the Hours accompany him and he holds a ring representing the Zodiac.According to Bellori, the subject was devised by Rospigliosi. The four dancers represented, beginning with the one at the back seen mostly from behind: Poverty, bour, Riches, and Pleasure or Luxury. These represent a progression in human life, completed by Pleasure or Luxury leading to Poverty again. As the Four Seasons Poverty would be Autumn, bour Winter, and so on. The suggestion of Anthony Blunt that, unusually for a group of the seasons, Autumn/Poverty at the rear of the group was male is now generally accepted, and the museum now describe him as Bacchus. This follows the story invented by Boitet de Frauville in his Les Dionysiaques that, responding to complaints from the Seasons and Time, Jupiter gave the world Bacchus and his wine in order to compensate for the miserable living conditions mortals must endure.  André Félibien, the friend and biographer of Poussin, explained the picture in the same terms, except that where Bellori identified Summer with Luxury, Félibien said that it represented Pleasure.These identifications are disputed by Malcolm Bull, at least as the original intention. He traces the iconography of the painting to the te Greek poet Nonnus, reflected in the Hymne de l'Automme of Pierre de Ronsard. Nonnus' descriptions of the four seasons, as translated into French, are closely followed by Poussin: "on the left is Spring, with a garland of roses in her hair; at the back is Autumn, whose hair has been cropped by the winds but whose brow is wreathed with olive branches; Winter is next, with her bound hair and shadowed face, and at the front is Summer, dressed in white with ears of corn in the braids of her hair."  Bacchus himself appears, in his double aspect as a young and old figure, in the herma at left. Bull suggests that Rospigliosi, an intellectual and author with a taste for allegory, invented the other interpretation "during or after its completion", while Ingamells feels that "Poussin was not unduly concerned with the precise identification of the figures".There are several pentimenti, including the removal of a second, larger, tree on the right between Winter/bour and Time.The painting is in generally good condition, but has been retouched in places, including over the repair of a large L-shaped tear running right through the central group.

Prompt: 人生の踊りに関して、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。

André Félibien
Anthony Blunt
Apollo
Boitet de Frauville
Nonnus
Pierre de Ronsard
Season
Zodiac


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人生の踊り

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

Prompt: 人生の踊りに焦点を当てて、そのアンソニー・パウエルを説明してください。英語で出力して下さい。


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人生の踊り

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

Prompt: 人生の踊りのアンソニー・パウエルを説明してください。英語で出力して下さい。


section

人生の踊り

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

Prompt: 人生の踊りはどのようにアンソニー・パウエルを説明していますか？英語で出力して下さい。