subsection

白貂を抱く貴婦人

The animal resting in Cecilia's arms is usually known as an ermine. Commentators have noted that it is too large to be an actual ermine, but its size is explained by its being of a largely symbolic nature. The art historian Luke Syson notes that "Naturalism is not the point here; Leonardo has created a mythical beast, the composite of several animals he drew at this time". There are several interpretations of the ermine's significance and they are often used in combination with each other. In its winter coat, the ermine was a traditional symbol of purity and moderation, as it was believed it would face death rather than soil its white coat.In his old age, Leonardo compiled a bestiary in which he recorded: "The ermine out of moderation never eats but once a day, and it would rather let itself be captured by hunters than take refuge in a dirty lair, in order not to stain its purity." He repeats this idea in another note, "Moderation curbs all the vices. The ermine prefers to die rather than soil itself." A drawing by Leonardo in pen and ink of c. 1490, housed at the Fitzwilliam Museum in Cambridge, depicts an ermine representing these ideals by surrendering to a hunter. The ermine has also been noted to have a personal significance to Ludovico Sforza, as he would use it as a personal emblem, having been appointed by Ferdinand I as a member of the Order of the Ermine in 1488. Alternatively, the ermine could be a pun on Cecilia's surname: The Ancient Greek term for ermine, or other weasel-like species of animals, is galê  or galéē . Such allusions were particularly popular in Renaissance culture; Leonardo himself had done something similar in his earlier work, Ginevra de' Benci, when he surrounded Ginevra with a juniper tree, or ginepro in Italian. Krystyna Moczulska suggests that the ermine follows the meaning of an ermine or weasel in classical literature, where it relates to pregnancy, sometimes as an animal that protected pregnant women. Around the time of the painting's creation, Cecilia was known to be pregnant with Ludovico's illegitimate son.

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

Fitzwilliam Museum
Ginevra de' Benci
Ludovico Sforza
Luke Syson


subsection

白貂を抱く貴婦人

The animal resting in Cecilia's arms is usually known as an ermine. Commentators have noted that it is too large to be an actual ermine, but its size is explained by its being of a largely symbolic nature. The art historian Luke Syson notes that "Naturalism is not the point here; Leonardo has created a mythical beast, the composite of several animals he drew at this time". There are several interpretations of the ermine's significance and they are often used in combination with each other. In its winter coat, the ermine was a traditional symbol of purity and moderation, as it was believed it would face death rather than soil its white coat.In his old age, Leonardo compiled a bestiary in which he recorded: "The ermine out of moderation never eats but once a day, and it would rather let itself be captured by hunters than take refuge in a dirty lair, in order not to stain its purity." He repeats this idea in another note, "Moderation curbs all the vices. The ermine prefers to die rather than soil itself." A drawing by Leonardo in pen and ink of c. 1490, housed at the Fitzwilliam Museum in Cambridge, depicts an ermine representing these ideals by surrendering to a hunter. The ermine has also been noted to have a personal significance to Ludovico Sforza, as he would use it as a personal emblem, having been appointed by Ferdinand I as a member of the Order of the Ermine in 1488. Alternatively, the ermine could be a pun on Cecilia's surname: The Ancient Greek term for ermine, or other weasel-like species of animals, is galê  or galéē . Such allusions were particularly popular in Renaissance culture; Leonardo himself had done something similar in his earlier work, Ginevra de' Benci, when he surrounded Ginevra with a juniper tree, or ginepro in Italian. Krystyna Moczulska suggests that the ermine follows the meaning of an ermine or weasel in classical literature, where it relates to pregnancy, sometimes as an animal that protected pregnant women. Around the time of the painting's creation, Cecilia was known to be pregnant with Ludovico's illegitimate son.

Prompt: 白貂を抱く貴婦人のヌルに関するジエルマインを説明してください。英語で出力して下さい。

Fitzwilliam Museum
Ginevra de' Benci
Ludovico Sforza
Luke Syson


subsection

白貂を抱く貴婦人

The animal resting in Cecilia's arms is usually known as an ermine. Commentators have noted that it is too large to be an actual ermine, but its size is explained by its being of a largely symbolic nature. The art historian Luke Syson notes that "Naturalism is not the point here; Leonardo has created a mythical beast, the composite of several animals he drew at this time". There are several interpretations of the ermine's significance and they are often used in combination with each other. In its winter coat, the ermine was a traditional symbol of purity and moderation, as it was believed it would face death rather than soil its white coat.In his old age, Leonardo compiled a bestiary in which he recorded: "The ermine out of moderation never eats but once a day, and it would rather let itself be captured by hunters than take refuge in a dirty lair, in order not to stain its purity." He repeats this idea in another note, "Moderation curbs all the vices. The ermine prefers to die rather than soil itself." A drawing by Leonardo in pen and ink of c. 1490, housed at the Fitzwilliam Museum in Cambridge, depicts an ermine representing these ideals by surrendering to a hunter. The ermine has also been noted to have a personal significance to Ludovico Sforza, as he would use it as a personal emblem, having been appointed by Ferdinand I as a member of the Order of the Ermine in 1488. Alternatively, the ermine could be a pun on Cecilia's surname: The Ancient Greek term for ermine, or other weasel-like species of animals, is galê  or galéē . Such allusions were particularly popular in Renaissance culture; Leonardo himself had done something similar in his earlier work, Ginevra de' Benci, when he surrounded Ginevra with a juniper tree, or ginepro in Italian. Krystyna Moczulska suggests that the ermine follows the meaning of an ermine or weasel in classical literature, where it relates to pregnancy, sometimes as an animal that protected pregnant women. Around the time of the painting's creation, Cecilia was known to be pregnant with Ludovico's illegitimate son.

Prompt: 白貂を抱く貴婦人では、どのようにヌルのジエルマインが説明されていますか？英語で出力して下さい。

Fitzwilliam Museum
Ginevra de' Benci
Ludovico Sforza
Luke Syson


subsection

白貂を抱く貴婦人

The animal resting in Cecilia's arms is usually known as an ermine. Commentators have noted that it is too large to be an actual ermine, but its size is explained by its being of a largely symbolic nature. The art historian Luke Syson notes that "Naturalism is not the point here; Leonardo has created a mythical beast, the composite of several animals he drew at this time". There are several interpretations of the ermine's significance and they are often used in combination with each other. In its winter coat, the ermine was a traditional symbol of purity and moderation, as it was believed it would face death rather than soil its white coat.In his old age, Leonardo compiled a bestiary in which he recorded: "The ermine out of moderation never eats but once a day, and it would rather let itself be captured by hunters than take refuge in a dirty lair, in order not to stain its purity." He repeats this idea in another note, "Moderation curbs all the vices. The ermine prefers to die rather than soil itself." A drawing by Leonardo in pen and ink of c. 1490, housed at the Fitzwilliam Museum in Cambridge, depicts an ermine representing these ideals by surrendering to a hunter. The ermine has also been noted to have a personal significance to Ludovico Sforza, as he would use it as a personal emblem, having been appointed by Ferdinand I as a member of the Order of the Ermine in 1488. Alternatively, the ermine could be a pun on Cecilia's surname: The Ancient Greek term for ermine, or other weasel-like species of animals, is galê  or galéē . Such allusions were particularly popular in Renaissance culture; Leonardo himself had done something similar in his earlier work, Ginevra de' Benci, when he surrounded Ginevra with a juniper tree, or ginepro in Italian. Krystyna Moczulska suggests that the ermine follows the meaning of an ermine or weasel in classical literature, where it relates to pregnancy, sometimes as an animal that protected pregnant women. Around the time of the painting's creation, Cecilia was known to be pregnant with Ludovico's illegitimate son.

Prompt: 白貂を抱く貴婦人のヌルにおけるジエルマインの特徴を説明してください。英語で出力して下さい。

Fitzwilliam Museum
Ginevra de' Benci
Ludovico Sforza
Luke Syson


subsection

白貂を抱く貴婦人

To some extent the painting includes traditional characteristics of Italian portraiture from the 1430s and 1440s; the coloring, for example, is particularly reminiscent of the Florentine quattrocento tradition.

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


subsection

白貂を抱く貴婦人

To some extent the painting includes traditional characteristics of Italian portraiture from the 1430s and 1440s; the coloring, for example, is particularly reminiscent of the Florentine quattrocento tradition.

Prompt: 白貂を抱く貴婦人のヌルに関する歴史的文脈を説明してください。英語で出力して下さい。


subsection

白貂を抱く貴婦人

To some extent the painting includes traditional characteristics of Italian portraiture from the 1430s and 1440s; the coloring, for example, is particularly reminiscent of the Florentine quattrocento tradition.

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


subsection

白貂を抱く貴婦人

To some extent the painting includes traditional characteristics of Italian portraiture from the 1430s and 1440s; the coloring, for example, is particularly reminiscent of the Florentine quattrocento tradition.

Prompt: 白貂を抱く貴婦人のヌルにおける歴史的文脈の特徴を説明してください。英語で出力して下さい。


subsection

白貂を抱く貴婦人

The sitter has been identified with reasonable certainty as Cecilia Gallerani, the mistress of Leonardo's employer, Ludovico Sforza.</ref> Janice Shell and Grazioso Sironi discuss the career of this identification since it was first suggested in 1900.group=n}}Gallerani was a member of a large family that was neither wealthy nor noble. Her father served for a time at the Duke's court. At the time of the portrait, she was about sixteen years old and was renowned for her beauty, scholarship and poetry. She was married at approximately age six to a young nobleman of the house of Visconti, but sued to annul the marriage in 1487 for undisclosed reasons and the request was granted. She became the Duke's mistress and bore him a son, even after his marriage to Beatrice d'Este eleven years previously. Beatrice was promised to the Duke when she was only five, and married him when she was sixteen in 1491. After a few months, she discovered the Duke was still seeing Gallerani, and forced the Duke to end the relationship by having her married to Count Ludovico Carminati di Brambilla, also known as Il Bergamino. The newly-wed couple was moved to Palazzo Carmagnola in Milan.

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

Beatrice d'Este
Cecilia Gallerani
Ludovico Sforza
Milan


subsection

白貂を抱く貴婦人

The sitter has been identified with reasonable certainty as Cecilia Gallerani, the mistress of Leonardo's employer, Ludovico Sforza.</ref> Janice Shell and Grazioso Sironi discuss the career of this identification since it was first suggested in 1900.group=n}}Gallerani was a member of a large family that was neither wealthy nor noble. Her father served for a time at the Duke's court. At the time of the portrait, she was about sixteen years old and was renowned for her beauty, scholarship and poetry. She was married at approximately age six to a young nobleman of the house of Visconti, but sued to annul the marriage in 1487 for undisclosed reasons and the request was granted. She became the Duke's mistress and bore him a son, even after his marriage to Beatrice d'Este eleven years previously. Beatrice was promised to the Duke when she was only five, and married him when she was sixteen in 1491. After a few months, she discovered the Duke was still seeing Gallerani, and forced the Duke to end the relationship by having her married to Count Ludovico Carminati di Brambilla, also known as Il Bergamino. The newly-wed couple was moved to Palazzo Carmagnola in Milan.

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

Beatrice d'Este
Cecilia Gallerani
Ludovico Sforza
Milan


subsection

白貂を抱く貴婦人

The sitter has been identified with reasonable certainty as Cecilia Gallerani, the mistress of Leonardo's employer, Ludovico Sforza.</ref> Janice Shell and Grazioso Sironi discuss the career of this identification since it was first suggested in 1900.group=n}}Gallerani was a member of a large family that was neither wealthy nor noble. Her father served for a time at the Duke's court. At the time of the portrait, she was about sixteen years old and was renowned for her beauty, scholarship and poetry. She was married at approximately age six to a young nobleman of the house of Visconti, but sued to annul the marriage in 1487 for undisclosed reasons and the request was granted. She became the Duke's mistress and bore him a son, even after his marriage to Beatrice d'Este eleven years previously. Beatrice was promised to the Duke when she was only five, and married him when she was sixteen in 1491. After a few months, she discovered the Duke was still seeing Gallerani, and forced the Duke to end the relationship by having her married to Count Ludovico Carminati di Brambilla, also known as Il Bergamino. The newly-wed couple was moved to Palazzo Carmagnola in Milan.

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

Beatrice d'Este
Cecilia Gallerani
Ludovico Sforza
Milan


subsection

白貂を抱く貴婦人

The sitter has been identified with reasonable certainty as Cecilia Gallerani, the mistress of Leonardo's employer, Ludovico Sforza.</ref> Janice Shell and Grazioso Sironi discuss the career of this identification since it was first suggested in 1900.group=n}}Gallerani was a member of a large family that was neither wealthy nor noble. Her father served for a time at the Duke's court. At the time of the portrait, she was about sixteen years old and was renowned for her beauty, scholarship and poetry. She was married at approximately age six to a young nobleman of the house of Visconti, but sued to annul the marriage in 1487 for undisclosed reasons and the request was granted. She became the Duke's mistress and bore him a son, even after his marriage to Beatrice d'Este eleven years previously. Beatrice was promised to the Duke when she was only five, and married him when she was sixteen in 1491. After a few months, she discovered the Duke was still seeing Gallerani, and forced the Duke to end the relationship by having her married to Count Ludovico Carminati di Brambilla, also known as Il Bergamino. The newly-wed couple was moved to Palazzo Carmagnola in Milan.

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

Beatrice d'Este
Cecilia Gallerani
Ludovico Sforza
Milan


subsection

白貂を抱く貴婦人

It has always been known that Leonardo painted a portrait of Ludovico Sforza's mistress, Cecilia Gallerani, but the dy with an Ermine remained largely unknown to scholars until nearly the 20th century. The painting was acquired in Italy in 1798 by Prince Adam George Czartoryski, the son of Izabela Czartoryska Flemming and Prince Adam Kazimierz Czartoryski, and incorporated into the Czartoryski family collections at Puławy in 1800. The inscription on the top-left corner of the painting, , was probably added by a restorer shortly after its arrival in Poland, and before the background was overpainted. Czartoryski was clearly aware it was a Leonardo, although the painting had never been discussed in print; no record exists of any previous owner. The Belle Ferronière is the Leonardo portrait in the Louvre, whose sitter bears such a close resemblance; the Czartoryskis considered this sitter to be the same.The painting travelled widely during the 19th century. During the November Uprising in 1830, the 84-year-old Princess Czartoryska rescued it in advance of the invading Russian army, hid it, and sent it 150 km south to the Czartoryski palace at Sieniawa. Soon after, it was transferred to the Czartoryski place of exile in Paris, the Hôtel mbert. The family returned to Poland in 1869, settling in Kraków. In the tumultuous aftermath of the German occupation of Paris in 1871 and the Commune, the family brought the painting to Kraków in 1876 and the museum opened in 1878. During World War I, the painting was moved to the Gemäldegalerie Alte Meister in Dresden for safe-keeping, returning to Kraków in 1920.In 1939, anticipating the German occupation of Poland, it was again moved to Sieniawa, but it was discovered and seized by the Nazis and sent to the Kaiser Friedrich Museum in Berlin. In 1940, Hans Frank, the Governor General of Poland, saw the painting there and requested it be returned to Kraków, where it hung in his suite of offices in the Wawel Castle. In 1941, it was transferred to a warehouse of other plundered art in Breslau. In 1943 it was brought back to Kraków and exhibited at the Wawel Castle. At the end of the Second World War it was discovered by Allied troops in Frank's country home in Schliersee, Bavaria, and was returned to Poland in 1946. It was again placed on exhibit at the Czartoryski Museum in Kraków. Throughout the mid–late 20th century the work traveled the world more extensively than any other Leonardo painting, being exhibited in Warsaw , Moscow , Washington, D.C. , Malmö , Rome/Milan , Florence .The work remained displayed at the Czartoryski Museum until it closed for renovations in 2010. From May 2017 to 2019, it was exhibited in the National Museum, Kraków, just outside the Old Town. It returned to the Czartoryski Museum for the museum's reopening on December 19, 2019.

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

Adam Kazimierz Czartoryski
Bavaria
Berlin
Cecilia Gallerani
Czartoryski Museum
Dresden
Gemäldegalerie Alte Meister
Hans Frank
Izabela Czartoryska
Kraków
Ludovico Sforza
Milan
November Uprising
Poland
Puławy
Schliersee
Sieniawa
Wawel Castle
World War I


subsection

白貂を抱く貴婦人

It has always been known that Leonardo painted a portrait of Ludovico Sforza's mistress, Cecilia Gallerani, but the dy with an Ermine remained largely unknown to scholars until nearly the 20th century. The painting was acquired in Italy in 1798 by Prince Adam George Czartoryski, the son of Izabela Czartoryska Flemming and Prince Adam Kazimierz Czartoryski, and incorporated into the Czartoryski family collections at Puławy in 1800. The inscription on the top-left corner of the painting, , was probably added by a restorer shortly after its arrival in Poland, and before the background was overpainted. Czartoryski was clearly aware it was a Leonardo, although the painting had never been discussed in print; no record exists of any previous owner. The Belle Ferronière is the Leonardo portrait in the Louvre, whose sitter bears such a close resemblance; the Czartoryskis considered this sitter to be the same.The painting travelled widely during the 19th century. During the November Uprising in 1830, the 84-year-old Princess Czartoryska rescued it in advance of the invading Russian army, hid it, and sent it 150 km south to the Czartoryski palace at Sieniawa. Soon after, it was transferred to the Czartoryski place of exile in Paris, the Hôtel mbert. The family returned to Poland in 1869, settling in Kraków. In the tumultuous aftermath of the German occupation of Paris in 1871 and the Commune, the family brought the painting to Kraków in 1876 and the museum opened in 1878. During World War I, the painting was moved to the Gemäldegalerie Alte Meister in Dresden for safe-keeping, returning to Kraków in 1920.In 1939, anticipating the German occupation of Poland, it was again moved to Sieniawa, but it was discovered and seized by the Nazis and sent to the Kaiser Friedrich Museum in Berlin. In 1940, Hans Frank, the Governor General of Poland, saw the painting there and requested it be returned to Kraków, where it hung in his suite of offices in the Wawel Castle. In 1941, it was transferred to a warehouse of other plundered art in Breslau. In 1943 it was brought back to Kraków and exhibited at the Wawel Castle. At the end of the Second World War it was discovered by Allied troops in Frank's country home in Schliersee, Bavaria, and was returned to Poland in 1946. It was again placed on exhibit at the Czartoryski Museum in Kraków. Throughout the mid–late 20th century the work traveled the world more extensively than any other Leonardo painting, being exhibited in Warsaw , Moscow , Washington, D.C. , Malmö , Rome/Milan , Florence .The work remained displayed at the Czartoryski Museum until it closed for renovations in 2010. From May 2017 to 2019, it was exhibited in the National Museum, Kraków, just outside the Old Town. It returned to the Czartoryski Museum for the museum's reopening on December 19, 2019.

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

Adam Kazimierz Czartoryski
Bavaria
Berlin
Cecilia Gallerani
Czartoryski Museum
Dresden
Gemäldegalerie Alte Meister
Hans Frank
Izabela Czartoryska
Kraków
Ludovico Sforza
Milan
November Uprising
Poland
Puławy
Schliersee
Sieniawa
Wawel Castle
World War I


subsection

白貂を抱く貴婦人

It has always been known that Leonardo painted a portrait of Ludovico Sforza's mistress, Cecilia Gallerani, but the dy with an Ermine remained largely unknown to scholars until nearly the 20th century. The painting was acquired in Italy in 1798 by Prince Adam George Czartoryski, the son of Izabela Czartoryska Flemming and Prince Adam Kazimierz Czartoryski, and incorporated into the Czartoryski family collections at Puławy in 1800. The inscription on the top-left corner of the painting, , was probably added by a restorer shortly after its arrival in Poland, and before the background was overpainted. Czartoryski was clearly aware it was a Leonardo, although the painting had never been discussed in print; no record exists of any previous owner. The Belle Ferronière is the Leonardo portrait in the Louvre, whose sitter bears such a close resemblance; the Czartoryskis considered this sitter to be the same.The painting travelled widely during the 19th century. During the November Uprising in 1830, the 84-year-old Princess Czartoryska rescued it in advance of the invading Russian army, hid it, and sent it 150 km south to the Czartoryski palace at Sieniawa. Soon after, it was transferred to the Czartoryski place of exile in Paris, the Hôtel mbert. The family returned to Poland in 1869, settling in Kraków. In the tumultuous aftermath of the German occupation of Paris in 1871 and the Commune, the family brought the painting to Kraków in 1876 and the museum opened in 1878. During World War I, the painting was moved to the Gemäldegalerie Alte Meister in Dresden for safe-keeping, returning to Kraków in 1920.In 1939, anticipating the German occupation of Poland, it was again moved to Sieniawa, but it was discovered and seized by the Nazis and sent to the Kaiser Friedrich Museum in Berlin. In 1940, Hans Frank, the Governor General of Poland, saw the painting there and requested it be returned to Kraków, where it hung in his suite of offices in the Wawel Castle. In 1941, it was transferred to a warehouse of other plundered art in Breslau. In 1943 it was brought back to Kraków and exhibited at the Wawel Castle. At the end of the Second World War it was discovered by Allied troops in Frank's country home in Schliersee, Bavaria, and was returned to Poland in 1946. It was again placed on exhibit at the Czartoryski Museum in Kraków. Throughout the mid–late 20th century the work traveled the world more extensively than any other Leonardo painting, being exhibited in Warsaw , Moscow , Washington, D.C. , Malmö , Rome/Milan , Florence .The work remained displayed at the Czartoryski Museum until it closed for renovations in 2010. From May 2017 to 2019, it was exhibited in the National Museum, Kraków, just outside the Old Town. It returned to the Czartoryski Museum for the museum's reopening on December 19, 2019.

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

Adam Kazimierz Czartoryski
Bavaria
Berlin
Cecilia Gallerani
Czartoryski Museum
Dresden
Gemäldegalerie Alte Meister
Hans Frank
Izabela Czartoryska
Kraków
Ludovico Sforza
Milan
November Uprising
Poland
Puławy
Schliersee
Sieniawa
Wawel Castle
World War I


subsection

白貂を抱く貴婦人

It has always been known that Leonardo painted a portrait of Ludovico Sforza's mistress, Cecilia Gallerani, but the dy with an Ermine remained largely unknown to scholars until nearly the 20th century. The painting was acquired in Italy in 1798 by Prince Adam George Czartoryski, the son of Izabela Czartoryska Flemming and Prince Adam Kazimierz Czartoryski, and incorporated into the Czartoryski family collections at Puławy in 1800. The inscription on the top-left corner of the painting, , was probably added by a restorer shortly after its arrival in Poland, and before the background was overpainted. Czartoryski was clearly aware it was a Leonardo, although the painting had never been discussed in print; no record exists of any previous owner. The Belle Ferronière is the Leonardo portrait in the Louvre, whose sitter bears such a close resemblance; the Czartoryskis considered this sitter to be the same.The painting travelled widely during the 19th century. During the November Uprising in 1830, the 84-year-old Princess Czartoryska rescued it in advance of the invading Russian army, hid it, and sent it 150 km south to the Czartoryski palace at Sieniawa. Soon after, it was transferred to the Czartoryski place of exile in Paris, the Hôtel mbert. The family returned to Poland in 1869, settling in Kraków. In the tumultuous aftermath of the German occupation of Paris in 1871 and the Commune, the family brought the painting to Kraków in 1876 and the museum opened in 1878. During World War I, the painting was moved to the Gemäldegalerie Alte Meister in Dresden for safe-keeping, returning to Kraków in 1920.In 1939, anticipating the German occupation of Poland, it was again moved to Sieniawa, but it was discovered and seized by the Nazis and sent to the Kaiser Friedrich Museum in Berlin. In 1940, Hans Frank, the Governor General of Poland, saw the painting there and requested it be returned to Kraków, where it hung in his suite of offices in the Wawel Castle. In 1941, it was transferred to a warehouse of other plundered art in Breslau. In 1943 it was brought back to Kraków and exhibited at the Wawel Castle. At the end of the Second World War it was discovered by Allied troops in Frank's country home in Schliersee, Bavaria, and was returned to Poland in 1946. It was again placed on exhibit at the Czartoryski Museum in Kraków. Throughout the mid–late 20th century the work traveled the world more extensively than any other Leonardo painting, being exhibited in Warsaw , Moscow , Washington, D.C. , Malmö , Rome/Milan , Florence .The work remained displayed at the Czartoryski Museum until it closed for renovations in 2010. From May 2017 to 2019, it was exhibited in the National Museum, Kraków, just outside the Old Town. It returned to the Czartoryski Museum for the museum's reopening on December 19, 2019.

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

Adam Kazimierz Czartoryski
Bavaria
Berlin
Cecilia Gallerani
Czartoryski Museum
Dresden
Gemäldegalerie Alte Meister
Hans Frank
Izabela Czartoryska
Kraków
Ludovico Sforza
Milan
November Uprising
Poland
Puławy
Schliersee
Sieniawa
Wawel Castle
World War I


subsection

白貂を抱く貴婦人

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

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

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


subsection

白貂を抱く貴婦人

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

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

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


subsection

白貂を抱く貴婦人

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

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

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


subsection

白貂を抱く貴婦人

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

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

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


subsection

白貂を抱く貴婦人

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

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

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


subsection

白貂を抱く貴婦人

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

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

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


subsection

白貂を抱く貴婦人

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

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

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


subsection

白貂を抱く貴婦人

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

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

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


subsection

白貂を抱く貴婦人

The animal resting in Cecilia's arms is usually known as an ermine. Commentators have noted that it is too large to be an actual ermine, but its size is explained by its being of a largely symbolic nature. The art historian Luke Syson notes that "Naturalism is not the point here; Leonardo has created a mythical beast, the composite of several animals he drew at this time". There are several interpretations of the ermine's significance and they are often used in combination with each other. In its winter coat, the ermine was a traditional symbol of purity and moderation, as it was believed it would face death rather than soil its white coat.In his old age, Leonardo compiled a bestiary in which he recorded: "The ermine out of moderation never eats but once a day, and it would rather let itself be captured by hunters than take refuge in a dirty lair, in order not to stain its purity." He repeats this idea in another note, "Moderation curbs all the vices. The ermine prefers to die rather than soil itself." A drawing by Leonardo in pen and ink of c. 1490, housed at the Fitzwilliam Museum in Cambridge, depicts an ermine representing these ideals by surrendering to a hunter. The ermine has also been noted to have a personal significance to Ludovico Sforza, as he would use it as a personal emblem, having been appointed by Ferdinand I as a member of the Order of the Ermine in 1488. Alternatively, the ermine could be a pun on Cecilia's surname: The Ancient Greek term for ermine, or other weasel-like species of animals, is galê  or galéē . Such allusions were particularly popular in Renaissance culture; Leonardo himself had done something similar in his earlier work, Ginevra de' Benci, when he surrounded Ginevra with a juniper tree, or ginepro in Italian. Krystyna Moczulska suggests that the ermine follows the meaning of an ermine or weasel in classical literature, where it relates to pregnancy, sometimes as an animal that protected pregnant women. Around the time of the painting's creation, Cecilia was known to be pregnant with Ludovico's illegitimate son.

Prompt: 白貂を抱く貴婦人の文脈で、ジエルマインとデートを説明してください。英語で出力して下さい。

Fitzwilliam Museum
Ginevra de' Benci
Ludovico Sforza
Luke Syson


subsection

白貂を抱く貴婦人

The animal resting in Cecilia's arms is usually known as an ermine. Commentators have noted that it is too large to be an actual ermine, but its size is explained by its being of a largely symbolic nature. The art historian Luke Syson notes that "Naturalism is not the point here; Leonardo has created a mythical beast, the composite of several animals he drew at this time". There are several interpretations of the ermine's significance and they are often used in combination with each other. In its winter coat, the ermine was a traditional symbol of purity and moderation, as it was believed it would face death rather than soil its white coat.In his old age, Leonardo compiled a bestiary in which he recorded: "The ermine out of moderation never eats but once a day, and it would rather let itself be captured by hunters than take refuge in a dirty lair, in order not to stain its purity." He repeats this idea in another note, "Moderation curbs all the vices. The ermine prefers to die rather than soil itself." A drawing by Leonardo in pen and ink of c. 1490, housed at the Fitzwilliam Museum in Cambridge, depicts an ermine representing these ideals by surrendering to a hunter. The ermine has also been noted to have a personal significance to Ludovico Sforza, as he would use it as a personal emblem, having been appointed by Ferdinand I as a member of the Order of the Ermine in 1488. Alternatively, the ermine could be a pun on Cecilia's surname: The Ancient Greek term for ermine, or other weasel-like species of animals, is galê  or galéē . Such allusions were particularly popular in Renaissance culture; Leonardo himself had done something similar in his earlier work, Ginevra de' Benci, when he surrounded Ginevra with a juniper tree, or ginepro in Italian. Krystyna Moczulska suggests that the ermine follows the meaning of an ermine or weasel in classical literature, where it relates to pregnancy, sometimes as an animal that protected pregnant women. Around the time of the painting's creation, Cecilia was known to be pregnant with Ludovico's illegitimate son.

Prompt: 白貂を抱く貴婦人のデートに関するジエルマインを説明してください。英語で出力して下さい。

Fitzwilliam Museum
Ginevra de' Benci
Ludovico Sforza
Luke Syson


subsection

白貂を抱く貴婦人

The animal resting in Cecilia's arms is usually known as an ermine. Commentators have noted that it is too large to be an actual ermine, but its size is explained by its being of a largely symbolic nature. The art historian Luke Syson notes that "Naturalism is not the point here; Leonardo has created a mythical beast, the composite of several animals he drew at this time". There are several interpretations of the ermine's significance and they are often used in combination with each other. In its winter coat, the ermine was a traditional symbol of purity and moderation, as it was believed it would face death rather than soil its white coat.In his old age, Leonardo compiled a bestiary in which he recorded: "The ermine out of moderation never eats but once a day, and it would rather let itself be captured by hunters than take refuge in a dirty lair, in order not to stain its purity." He repeats this idea in another note, "Moderation curbs all the vices. The ermine prefers to die rather than soil itself." A drawing by Leonardo in pen and ink of c. 1490, housed at the Fitzwilliam Museum in Cambridge, depicts an ermine representing these ideals by surrendering to a hunter. The ermine has also been noted to have a personal significance to Ludovico Sforza, as he would use it as a personal emblem, having been appointed by Ferdinand I as a member of the Order of the Ermine in 1488. Alternatively, the ermine could be a pun on Cecilia's surname: The Ancient Greek term for ermine, or other weasel-like species of animals, is galê  or galéē . Such allusions were particularly popular in Renaissance culture; Leonardo himself had done something similar in his earlier work, Ginevra de' Benci, when he surrounded Ginevra with a juniper tree, or ginepro in Italian. Krystyna Moczulska suggests that the ermine follows the meaning of an ermine or weasel in classical literature, where it relates to pregnancy, sometimes as an animal that protected pregnant women. Around the time of the painting's creation, Cecilia was known to be pregnant with Ludovico's illegitimate son.

Prompt: 白貂を抱く貴婦人では、どのようにデートのジエルマインが説明されていますか？英語で出力して下さい。

Fitzwilliam Museum
Ginevra de' Benci
Ludovico Sforza
Luke Syson


subsection

白貂を抱く貴婦人

The animal resting in Cecilia's arms is usually known as an ermine. Commentators have noted that it is too large to be an actual ermine, but its size is explained by its being of a largely symbolic nature. The art historian Luke Syson notes that "Naturalism is not the point here; Leonardo has created a mythical beast, the composite of several animals he drew at this time". There are several interpretations of the ermine's significance and they are often used in combination with each other. In its winter coat, the ermine was a traditional symbol of purity and moderation, as it was believed it would face death rather than soil its white coat.In his old age, Leonardo compiled a bestiary in which he recorded: "The ermine out of moderation never eats but once a day, and it would rather let itself be captured by hunters than take refuge in a dirty lair, in order not to stain its purity." He repeats this idea in another note, "Moderation curbs all the vices. The ermine prefers to die rather than soil itself." A drawing by Leonardo in pen and ink of c. 1490, housed at the Fitzwilliam Museum in Cambridge, depicts an ermine representing these ideals by surrendering to a hunter. The ermine has also been noted to have a personal significance to Ludovico Sforza, as he would use it as a personal emblem, having been appointed by Ferdinand I as a member of the Order of the Ermine in 1488. Alternatively, the ermine could be a pun on Cecilia's surname: The Ancient Greek term for ermine, or other weasel-like species of animals, is galê  or galéē . Such allusions were particularly popular in Renaissance culture; Leonardo himself had done something similar in his earlier work, Ginevra de' Benci, when he surrounded Ginevra with a juniper tree, or ginepro in Italian. Krystyna Moczulska suggests that the ermine follows the meaning of an ermine or weasel in classical literature, where it relates to pregnancy, sometimes as an animal that protected pregnant women. Around the time of the painting's creation, Cecilia was known to be pregnant with Ludovico's illegitimate son.

Prompt: 白貂を抱く貴婦人のデートにおけるジエルマインの特徴を説明してください。英語で出力して下さい。

Fitzwilliam Museum
Ginevra de' Benci
Ludovico Sforza
Luke Syson


subsection

白貂を抱く貴婦人

To some extent the painting includes traditional characteristics of Italian portraiture from the 1430s and 1440s; the coloring, for example, is particularly reminiscent of the Florentine quattrocento tradition.

Prompt: 白貂を抱く貴婦人の文脈で、歴史的文脈とデートを説明してください。英語で出力して下さい。


subsection

白貂を抱く貴婦人

To some extent the painting includes traditional characteristics of Italian portraiture from the 1430s and 1440s; the coloring, for example, is particularly reminiscent of the Florentine quattrocento tradition.

Prompt: 白貂を抱く貴婦人のデートに関する歴史的文脈を説明してください。英語で出力して下さい。


subsection

白貂を抱く貴婦人

To some extent the painting includes traditional characteristics of Italian portraiture from the 1430s and 1440s; the coloring, for example, is particularly reminiscent of the Florentine quattrocento tradition.

Prompt: 白貂を抱く貴婦人では、どのようにデートの歴史的文脈が説明されていますか？英語で出力して下さい。


subsection

白貂を抱く貴婦人

To some extent the painting includes traditional characteristics of Italian portraiture from the 1430s and 1440s; the coloring, for example, is particularly reminiscent of the Florentine quattrocento tradition.

Prompt: 白貂を抱く貴婦人のデートにおける歴史的文脈の特徴を説明してください。英語で出力して下さい。


subsection

白貂を抱く貴婦人

The sitter has been identified with reasonable certainty as Cecilia Gallerani, the mistress of Leonardo's employer, Ludovico Sforza.</ref> Janice Shell and Grazioso Sironi discuss the career of this identification since it was first suggested in 1900.group=n}}Gallerani was a member of a large family that was neither wealthy nor noble. Her father served for a time at the Duke's court. At the time of the portrait, she was about sixteen years old and was renowned for her beauty, scholarship and poetry. She was married at approximately age six to a young nobleman of the house of Visconti, but sued to annul the marriage in 1487 for undisclosed reasons and the request was granted. She became the Duke's mistress and bore him a son, even after his marriage to Beatrice d'Este eleven years previously. Beatrice was promised to the Duke when she was only five, and married him when she was sixteen in 1491. After a few months, she discovered the Duke was still seeing Gallerani, and forced the Duke to end the relationship by having her married to Count Ludovico Carminati di Brambilla, also known as Il Bergamino. The newly-wed couple was moved to Palazzo Carmagnola in Milan.

Prompt: 白貂を抱く貴婦人の文脈で、手数料とデートを説明してください。英語で出力して下さい。

Beatrice d'Este
Cecilia Gallerani
Ludovico Sforza
Milan


subsection

白貂を抱く貴婦人

The sitter has been identified with reasonable certainty as Cecilia Gallerani, the mistress of Leonardo's employer, Ludovico Sforza.</ref> Janice Shell and Grazioso Sironi discuss the career of this identification since it was first suggested in 1900.group=n}}Gallerani was a member of a large family that was neither wealthy nor noble. Her father served for a time at the Duke's court. At the time of the portrait, she was about sixteen years old and was renowned for her beauty, scholarship and poetry. She was married at approximately age six to a young nobleman of the house of Visconti, but sued to annul the marriage in 1487 for undisclosed reasons and the request was granted. She became the Duke's mistress and bore him a son, even after his marriage to Beatrice d'Este eleven years previously. Beatrice was promised to the Duke when she was only five, and married him when she was sixteen in 1491. After a few months, she discovered the Duke was still seeing Gallerani, and forced the Duke to end the relationship by having her married to Count Ludovico Carminati di Brambilla, also known as Il Bergamino. The newly-wed couple was moved to Palazzo Carmagnola in Milan.

Prompt: 白貂を抱く貴婦人のデートに関する手数料を説明してください。英語で出力して下さい。

Beatrice d'Este
Cecilia Gallerani
Ludovico Sforza
Milan


subsection

白貂を抱く貴婦人

The sitter has been identified with reasonable certainty as Cecilia Gallerani, the mistress of Leonardo's employer, Ludovico Sforza.</ref> Janice Shell and Grazioso Sironi discuss the career of this identification since it was first suggested in 1900.group=n}}Gallerani was a member of a large family that was neither wealthy nor noble. Her father served for a time at the Duke's court. At the time of the portrait, she was about sixteen years old and was renowned for her beauty, scholarship and poetry. She was married at approximately age six to a young nobleman of the house of Visconti, but sued to annul the marriage in 1487 for undisclosed reasons and the request was granted. She became the Duke's mistress and bore him a son, even after his marriage to Beatrice d'Este eleven years previously. Beatrice was promised to the Duke when she was only five, and married him when she was sixteen in 1491. After a few months, she discovered the Duke was still seeing Gallerani, and forced the Duke to end the relationship by having her married to Count Ludovico Carminati di Brambilla, also known as Il Bergamino. The newly-wed couple was moved to Palazzo Carmagnola in Milan.

Prompt: 白貂を抱く貴婦人では、どのようにデートの手数料が説明されていますか？英語で出力して下さい。

Beatrice d'Este
Cecilia Gallerani
Ludovico Sforza
Milan


subsection

白貂を抱く貴婦人

The sitter has been identified with reasonable certainty as Cecilia Gallerani, the mistress of Leonardo's employer, Ludovico Sforza.</ref> Janice Shell and Grazioso Sironi discuss the career of this identification since it was first suggested in 1900.group=n}}Gallerani was a member of a large family that was neither wealthy nor noble. Her father served for a time at the Duke's court. At the time of the portrait, she was about sixteen years old and was renowned for her beauty, scholarship and poetry. She was married at approximately age six to a young nobleman of the house of Visconti, but sued to annul the marriage in 1487 for undisclosed reasons and the request was granted. She became the Duke's mistress and bore him a son, even after his marriage to Beatrice d'Este eleven years previously. Beatrice was promised to the Duke when she was only five, and married him when she was sixteen in 1491. After a few months, she discovered the Duke was still seeing Gallerani, and forced the Duke to end the relationship by having her married to Count Ludovico Carminati di Brambilla, also known as Il Bergamino. The newly-wed couple was moved to Palazzo Carmagnola in Milan.

Prompt: 白貂を抱く貴婦人のデートにおける手数料の特徴を説明してください。英語で出力して下さい。

Beatrice d'Este
Cecilia Gallerani
Ludovico Sforza
Milan


subsection

白貂を抱く貴婦人

It has always been known that Leonardo painted a portrait of Ludovico Sforza's mistress, Cecilia Gallerani, but the dy with an Ermine remained largely unknown to scholars until nearly the 20th century. The painting was acquired in Italy in 1798 by Prince Adam George Czartoryski, the son of Izabela Czartoryska Flemming and Prince Adam Kazimierz Czartoryski, and incorporated into the Czartoryski family collections at Puławy in 1800. The inscription on the top-left corner of the painting, , was probably added by a restorer shortly after its arrival in Poland, and before the background was overpainted. Czartoryski was clearly aware it was a Leonardo, although the painting had never been discussed in print; no record exists of any previous owner. The Belle Ferronière is the Leonardo portrait in the Louvre, whose sitter bears such a close resemblance; the Czartoryskis considered this sitter to be the same.The painting travelled widely during the 19th century. During the November Uprising in 1830, the 84-year-old Princess Czartoryska rescued it in advance of the invading Russian army, hid it, and sent it 150 km south to the Czartoryski palace at Sieniawa. Soon after, it was transferred to the Czartoryski place of exile in Paris, the Hôtel mbert. The family returned to Poland in 1869, settling in Kraków. In the tumultuous aftermath of the German occupation of Paris in 1871 and the Commune, the family brought the painting to Kraków in 1876 and the museum opened in 1878. During World War I, the painting was moved to the Gemäldegalerie Alte Meister in Dresden for safe-keeping, returning to Kraków in 1920.In 1939, anticipating the German occupation of Poland, it was again moved to Sieniawa, but it was discovered and seized by the Nazis and sent to the Kaiser Friedrich Museum in Berlin. In 1940, Hans Frank, the Governor General of Poland, saw the painting there and requested it be returned to Kraków, where it hung in his suite of offices in the Wawel Castle. In 1941, it was transferred to a warehouse of other plundered art in Breslau. In 1943 it was brought back to Kraków and exhibited at the Wawel Castle. At the end of the Second World War it was discovered by Allied troops in Frank's country home in Schliersee, Bavaria, and was returned to Poland in 1946. It was again placed on exhibit at the Czartoryski Museum in Kraków. Throughout the mid–late 20th century the work traveled the world more extensively than any other Leonardo painting, being exhibited in Warsaw , Moscow , Washington, D.C. , Malmö , Rome/Milan , Florence .The work remained displayed at the Czartoryski Museum until it closed for renovations in 2010. From May 2017 to 2019, it was exhibited in the National Museum, Kraków, just outside the Old Town. It returned to the Czartoryski Museum for the museum's reopening on December 19, 2019.

Prompt: 白貂を抱く貴婦人の文脈で、歴史とデートを説明してください。英語で出力して下さい。

Adam Kazimierz Czartoryski
Bavaria
Berlin
Cecilia Gallerani
Czartoryski Museum
Dresden
Gemäldegalerie Alte Meister
Hans Frank
Izabela Czartoryska
Kraków
Ludovico Sforza
Milan
November Uprising
Poland
Puławy
Schliersee
Sieniawa
Wawel Castle
World War I


subsection

白貂を抱く貴婦人

It has always been known that Leonardo painted a portrait of Ludovico Sforza's mistress, Cecilia Gallerani, but the dy with an Ermine remained largely unknown to scholars until nearly the 20th century. The painting was acquired in Italy in 1798 by Prince Adam George Czartoryski, the son of Izabela Czartoryska Flemming and Prince Adam Kazimierz Czartoryski, and incorporated into the Czartoryski family collections at Puławy in 1800. The inscription on the top-left corner of the painting, , was probably added by a restorer shortly after its arrival in Poland, and before the background was overpainted. Czartoryski was clearly aware it was a Leonardo, although the painting had never been discussed in print; no record exists of any previous owner. The Belle Ferronière is the Leonardo portrait in the Louvre, whose sitter bears such a close resemblance; the Czartoryskis considered this sitter to be the same.The painting travelled widely during the 19th century. During the November Uprising in 1830, the 84-year-old Princess Czartoryska rescued it in advance of the invading Russian army, hid it, and sent it 150 km south to the Czartoryski palace at Sieniawa. Soon after, it was transferred to the Czartoryski place of exile in Paris, the Hôtel mbert. The family returned to Poland in 1869, settling in Kraków. In the tumultuous aftermath of the German occupation of Paris in 1871 and the Commune, the family brought the painting to Kraków in 1876 and the museum opened in 1878. During World War I, the painting was moved to the Gemäldegalerie Alte Meister in Dresden for safe-keeping, returning to Kraków in 1920.In 1939, anticipating the German occupation of Poland, it was again moved to Sieniawa, but it was discovered and seized by the Nazis and sent to the Kaiser Friedrich Museum in Berlin. In 1940, Hans Frank, the Governor General of Poland, saw the painting there and requested it be returned to Kraków, where it hung in his suite of offices in the Wawel Castle. In 1941, it was transferred to a warehouse of other plundered art in Breslau. In 1943 it was brought back to Kraków and exhibited at the Wawel Castle. At the end of the Second World War it was discovered by Allied troops in Frank's country home in Schliersee, Bavaria, and was returned to Poland in 1946. It was again placed on exhibit at the Czartoryski Museum in Kraków. Throughout the mid–late 20th century the work traveled the world more extensively than any other Leonardo painting, being exhibited in Warsaw , Moscow , Washington, D.C. , Malmö , Rome/Milan , Florence .The work remained displayed at the Czartoryski Museum until it closed for renovations in 2010. From May 2017 to 2019, it was exhibited in the National Museum, Kraków, just outside the Old Town. It returned to the Czartoryski Museum for the museum's reopening on December 19, 2019.

Prompt: 白貂を抱く貴婦人のデートに関する歴史を説明してください。英語で出力して下さい。

Adam Kazimierz Czartoryski
Bavaria
Berlin
Cecilia Gallerani
Czartoryski Museum
Dresden
Gemäldegalerie Alte Meister
Hans Frank
Izabela Czartoryska
Kraków
Ludovico Sforza
Milan
November Uprising
Poland
Puławy
Schliersee
Sieniawa
Wawel Castle
World War I


subsection

白貂を抱く貴婦人

It has always been known that Leonardo painted a portrait of Ludovico Sforza's mistress, Cecilia Gallerani, but the dy with an Ermine remained largely unknown to scholars until nearly the 20th century. The painting was acquired in Italy in 1798 by Prince Adam George Czartoryski, the son of Izabela Czartoryska Flemming and Prince Adam Kazimierz Czartoryski, and incorporated into the Czartoryski family collections at Puławy in 1800. The inscription on the top-left corner of the painting, , was probably added by a restorer shortly after its arrival in Poland, and before the background was overpainted. Czartoryski was clearly aware it was a Leonardo, although the painting had never been discussed in print; no record exists of any previous owner. The Belle Ferronière is the Leonardo portrait in the Louvre, whose sitter bears such a close resemblance; the Czartoryskis considered this sitter to be the same.The painting travelled widely during the 19th century. During the November Uprising in 1830, the 84-year-old Princess Czartoryska rescued it in advance of the invading Russian army, hid it, and sent it 150 km south to the Czartoryski palace at Sieniawa. Soon after, it was transferred to the Czartoryski place of exile in Paris, the Hôtel mbert. The family returned to Poland in 1869, settling in Kraków. In the tumultuous aftermath of the German occupation of Paris in 1871 and the Commune, the family brought the painting to Kraków in 1876 and the museum opened in 1878. During World War I, the painting was moved to the Gemäldegalerie Alte Meister in Dresden for safe-keeping, returning to Kraków in 1920.In 1939, anticipating the German occupation of Poland, it was again moved to Sieniawa, but it was discovered and seized by the Nazis and sent to the Kaiser Friedrich Museum in Berlin. In 1940, Hans Frank, the Governor General of Poland, saw the painting there and requested it be returned to Kraków, where it hung in his suite of offices in the Wawel Castle. In 1941, it was transferred to a warehouse of other plundered art in Breslau. In 1943 it was brought back to Kraków and exhibited at the Wawel Castle. At the end of the Second World War it was discovered by Allied troops in Frank's country home in Schliersee, Bavaria, and was returned to Poland in 1946. It was again placed on exhibit at the Czartoryski Museum in Kraków. Throughout the mid–late 20th century the work traveled the world more extensively than any other Leonardo painting, being exhibited in Warsaw , Moscow , Washington, D.C. , Malmö , Rome/Milan , Florence .The work remained displayed at the Czartoryski Museum until it closed for renovations in 2010. From May 2017 to 2019, it was exhibited in the National Museum, Kraków, just outside the Old Town. It returned to the Czartoryski Museum for the museum's reopening on December 19, 2019.

Prompt: 白貂を抱く貴婦人では、どのようにデートの歴史が説明されていますか？英語で出力して下さい。

Adam Kazimierz Czartoryski
Bavaria
Berlin
Cecilia Gallerani
Czartoryski Museum
Dresden
Gemäldegalerie Alte Meister
Hans Frank
Izabela Czartoryska
Kraków
Ludovico Sforza
Milan
November Uprising
Poland
Puławy
Schliersee
Sieniawa
Wawel Castle
World War I


subsection

白貂を抱く貴婦人

It has always been known that Leonardo painted a portrait of Ludovico Sforza's mistress, Cecilia Gallerani, but the dy with an Ermine remained largely unknown to scholars until nearly the 20th century. The painting was acquired in Italy in 1798 by Prince Adam George Czartoryski, the son of Izabela Czartoryska Flemming and Prince Adam Kazimierz Czartoryski, and incorporated into the Czartoryski family collections at Puławy in 1800. The inscription on the top-left corner of the painting, , was probably added by a restorer shortly after its arrival in Poland, and before the background was overpainted. Czartoryski was clearly aware it was a Leonardo, although the painting had never been discussed in print; no record exists of any previous owner. The Belle Ferronière is the Leonardo portrait in the Louvre, whose sitter bears such a close resemblance; the Czartoryskis considered this sitter to be the same.The painting travelled widely during the 19th century. During the November Uprising in 1830, the 84-year-old Princess Czartoryska rescued it in advance of the invading Russian army, hid it, and sent it 150 km south to the Czartoryski palace at Sieniawa. Soon after, it was transferred to the Czartoryski place of exile in Paris, the Hôtel mbert. The family returned to Poland in 1869, settling in Kraków. In the tumultuous aftermath of the German occupation of Paris in 1871 and the Commune, the family brought the painting to Kraków in 1876 and the museum opened in 1878. During World War I, the painting was moved to the Gemäldegalerie Alte Meister in Dresden for safe-keeping, returning to Kraków in 1920.In 1939, anticipating the German occupation of Poland, it was again moved to Sieniawa, but it was discovered and seized by the Nazis and sent to the Kaiser Friedrich Museum in Berlin. In 1940, Hans Frank, the Governor General of Poland, saw the painting there and requested it be returned to Kraków, where it hung in his suite of offices in the Wawel Castle. In 1941, it was transferred to a warehouse of other plundered art in Breslau. In 1943 it was brought back to Kraków and exhibited at the Wawel Castle. At the end of the Second World War it was discovered by Allied troops in Frank's country home in Schliersee, Bavaria, and was returned to Poland in 1946. It was again placed on exhibit at the Czartoryski Museum in Kraków. Throughout the mid–late 20th century the work traveled the world more extensively than any other Leonardo painting, being exhibited in Warsaw , Moscow , Washington, D.C. , Malmö , Rome/Milan , Florence .The work remained displayed at the Czartoryski Museum until it closed for renovations in 2010. From May 2017 to 2019, it was exhibited in the National Museum, Kraków, just outside the Old Town. It returned to the Czartoryski Museum for the museum's reopening on December 19, 2019.

Prompt: 白貂を抱く貴婦人のデートにおける歴史の特徴を説明してください。英語で出力して下さい。

Adam Kazimierz Czartoryski
Bavaria
Berlin
Cecilia Gallerani
Czartoryski Museum
Dresden
Gemäldegalerie Alte Meister
Hans Frank
Izabela Czartoryska
Kraków
Ludovico Sforza
Milan
November Uprising
Poland
Puławy
Schliersee
Sieniawa
Wawel Castle
World War I


section

リッタの聖母

type=Tempera on canvas  height_metric=42 width_metric=33 city=Saint Petersburg museum=Hermitage Museum}}The Madonna Litta is a late 15th-century painting, traditionally attributed to Leonardo da Vinci, in the Hermitage Museum, Saint Petersburg. It depicts the Virgin Mary breastfeeding the Christ child, a devotional subject known as the Madonna lactans. The figures are set in a dark interior with two arched openings, as in Leonardo's earlier Madonna of the Carnation, and a mountainous landscape in aerial perspective can be seen beyond. In his left hand Christ holds a goldfinch, which is symbolic of his future Passion.Scholarly opinion is divided on the work's attribution, with some believing it to be the work of a pupil of Leonardo such as Giovanni Antonio Boltraffio or Marco d'Oggiono; the Hermitage Museum, however, considers the painting to be an autograph work by Leonardo. The painting takes its name from the House of Litta, a Milanese noble family in whose collection it was for much of the nineteenth century.

Prompt: リッタ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。

Giovanni Antonio Boltraffio
Hermitage Museum
Leonardo da Vinci
Madonna of the Carnation
Marco d'Oggiono
Milan
Saint Petersburg


section

リッタの聖母

type=Tempera on canvas  height_metric=42 width_metric=33 city=Saint Petersburg museum=Hermitage Museum}}The Madonna Litta is a late 15th-century painting, traditionally attributed to Leonardo da Vinci, in the Hermitage Museum, Saint Petersburg. It depicts the Virgin Mary breastfeeding the Christ child, a devotional subject known as the Madonna lactans. The figures are set in a dark interior with two arched openings, as in Leonardo's earlier Madonna of the Carnation, and a mountainous landscape in aerial perspective can be seen beyond. In his left hand Christ holds a goldfinch, which is symbolic of his future Passion.Scholarly opinion is divided on the work's attribution, with some believing it to be the work of a pupil of Leonardo such as Giovanni Antonio Boltraffio or Marco d'Oggiono; the Hermitage Museum, however, considers the painting to be an autograph work by Leonardo. The painting takes its name from the House of Litta, a Milanese noble family in whose collection it was for much of the nineteenth century.

Prompt: リッタ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。

Giovanni Antonio Boltraffio
Hermitage Museum
Leonardo da Vinci
Madonna of the Carnation
Marco d'Oggiono
Milan
Saint Petersburg


section

リッタの聖母

type=Tempera on canvas  height_metric=42 width_metric=33 city=Saint Petersburg museum=Hermitage Museum}}The Madonna Litta is a late 15th-century painting, traditionally attributed to Leonardo da Vinci, in the Hermitage Museum, Saint Petersburg. It depicts the Virgin Mary breastfeeding the Christ child, a devotional subject known as the Madonna lactans. The figures are set in a dark interior with two arched openings, as in Leonardo's earlier Madonna of the Carnation, and a mountainous landscape in aerial perspective can be seen beyond. In his left hand Christ holds a goldfinch, which is symbolic of his future Passion.Scholarly opinion is divided on the work's attribution, with some believing it to be the work of a pupil of Leonardo such as Giovanni Antonio Boltraffio or Marco d'Oggiono; the Hermitage Museum, however, considers the painting to be an autograph work by Leonardo. The painting takes its name from the House of Litta, a Milanese noble family in whose collection it was for much of the nineteenth century.

Prompt: リッタ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。

Giovanni Antonio Boltraffio
Hermitage Museum
Leonardo da Vinci
Madonna of the Carnation
Marco d'Oggiono
Milan
Saint Petersburg


section

リッタの聖母

type=Tempera on canvas  height_metric=42 width_metric=33 city=Saint Petersburg museum=Hermitage Museum}}The Madonna Litta is a late 15th-century painting, traditionally attributed to Leonardo da Vinci, in the Hermitage Museum, Saint Petersburg. It depicts the Virgin Mary breastfeeding the Christ child, a devotional subject known as the Madonna lactans. The figures are set in a dark interior with two arched openings, as in Leonardo's earlier Madonna of the Carnation, and a mountainous landscape in aerial perspective can be seen beyond. In his left hand Christ holds a goldfinch, which is symbolic of his future Passion.Scholarly opinion is divided on the work's attribution, with some believing it to be the work of a pupil of Leonardo such as Giovanni Antonio Boltraffio or Marco d'Oggiono; the Hermitage Museum, however, considers the painting to be an autograph work by Leonardo. The painting takes its name from the House of Litta, a Milanese noble family in whose collection it was for much of the nineteenth century.

Prompt: リッタの聖母に関して、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。

Giovanni Antonio Boltraffio
Hermitage Museum
Leonardo da Vinci
Madonna of the Carnation
Marco d'Oggiono
Milan
Saint Petersburg


section

リッタの聖母

The Madonna Litta might be one of the paintings of the Madonna and Child recorded in Leonardo's studio before or during his first Milanese period . On a drawing in the Uffizi Leonardo noted that he had begun “two Virgin Maries” in late 1478 and an inventory of his studio written in 1482  again mentions two paintings of “Our dy”. The second of these is, according to different interpretations, either noted as being “almost finished, in profile” or “finished, almost in profile”. The Virgin's head in the Madonna Litta could be described either way, and it has therefore been argued that the painting was begun in Leonardo's first Florentine period and left unfinished until it was later worked up by a pupil in Milan. Scientific analysis of the painting has, however, suggested that it was produced by only one artist.Several drawings have been identified as preparatory to the Madonna Litta. One, which is universally attributed to Leonardo, is a metalpoint drawing of a young woman's face in near profile, part of the Codex Vallardi in the Louvre. There is evidence that this sheet was used as an exemplum for teaching pupils in Leonardo’s workshop; on the reverse another artist has traced the outline of the face in pen and ink, a technique Leonardo himself used when developing compositions. Further evidence of pupils copying the drawing comes in the form of a direct copy, by a rather uncertain draughtsman, on a sheet which was turned over and reused for a different drawing by another sixteenth-century artist; this is now in the Städel in Frankfurt.Two other drawings, in metalpoint with white lead highlights on blue prepared paper, are attributed to a follower of Leonardo, usually considered to be Giovanni Antonio Boltraffio. One, a study for the Christ child's head, is in the Fondation Custodia in Paris; the other, in the Kupferstichkabinett in Berlin, is a drapery study for the Virgin's garments. These have been attributed to Boltraffio on the basis of the Berlin drawing's similarity to other drapery studies by the artist. It has been argued that the Paris and Berlin drawings are preparatory studies for the Madonna Litta rather than copies after it, as the drapery study shows more of the Virgin's right arm than the finished work, in which this is obscured by Christ's head. This suggests that the composition was partly pieced together from these studies.A further related drawing in the Metropolitan Museum of Art, attributed to Boltraffio, is of the Virgin's face in strict profile and does not resemble the finished painting in the Hermitage. It has been argued that this study might represent an earlier idea by a pupil for the composition of the Madonna Litta, which the master Leonardo then 'corrected' with the drawing in the Louvre.The painting was repainted by an artist other than Leonardo in Milan around 1495.

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

Codex Vallardi
Fondation Custodia
Giovanni Antonio Boltraffio
Louvre
Metropolitan Museum of Art
Milan
Städel
Uffizi


section

リッタの聖母

The Madonna Litta might be one of the paintings of the Madonna and Child recorded in Leonardo's studio before or during his first Milanese period . On a drawing in the Uffizi Leonardo noted that he had begun “two Virgin Maries” in late 1478 and an inventory of his studio written in 1482  again mentions two paintings of “Our dy”. The second of these is, according to different interpretations, either noted as being “almost finished, in profile” or “finished, almost in profile”. The Virgin's head in the Madonna Litta could be described either way, and it has therefore been argued that the painting was begun in Leonardo's first Florentine period and left unfinished until it was later worked up by a pupil in Milan. Scientific analysis of the painting has, however, suggested that it was produced by only one artist.Several drawings have been identified as preparatory to the Madonna Litta. One, which is universally attributed to Leonardo, is a metalpoint drawing of a young woman's face in near profile, part of the Codex Vallardi in the Louvre. There is evidence that this sheet was used as an exemplum for teaching pupils in Leonardo’s workshop; on the reverse another artist has traced the outline of the face in pen and ink, a technique Leonardo himself used when developing compositions. Further evidence of pupils copying the drawing comes in the form of a direct copy, by a rather uncertain draughtsman, on a sheet which was turned over and reused for a different drawing by another sixteenth-century artist; this is now in the Städel in Frankfurt.Two other drawings, in metalpoint with white lead highlights on blue prepared paper, are attributed to a follower of Leonardo, usually considered to be Giovanni Antonio Boltraffio. One, a study for the Christ child's head, is in the Fondation Custodia in Paris; the other, in the Kupferstichkabinett in Berlin, is a drapery study for the Virgin's garments. These have been attributed to Boltraffio on the basis of the Berlin drawing's similarity to other drapery studies by the artist. It has been argued that the Paris and Berlin drawings are preparatory studies for the Madonna Litta rather than copies after it, as the drapery study shows more of the Virgin's right arm than the finished work, in which this is obscured by Christ's head. This suggests that the composition was partly pieced together from these studies.A further related drawing in the Metropolitan Museum of Art, attributed to Boltraffio, is of the Virgin's face in strict profile and does not resemble the finished painting in the Hermitage. It has been argued that this study might represent an earlier idea by a pupil for the composition of the Madonna Litta, which the master Leonardo then 'corrected' with the drawing in the Louvre.The painting was repainted by an artist other than Leonardo in Milan around 1495.

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

Codex Vallardi
Fondation Custodia
Giovanni Antonio Boltraffio
Louvre
Metropolitan Museum of Art
Milan
Städel
Uffizi


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リッタの聖母

The Madonna Litta might be one of the paintings of the Madonna and Child recorded in Leonardo's studio before or during his first Milanese period . On a drawing in the Uffizi Leonardo noted that he had begun “two Virgin Maries” in late 1478 and an inventory of his studio written in 1482  again mentions two paintings of “Our dy”. The second of these is, according to different interpretations, either noted as being “almost finished, in profile” or “finished, almost in profile”. The Virgin's head in the Madonna Litta could be described either way, and it has therefore been argued that the painting was begun in Leonardo's first Florentine period and left unfinished until it was later worked up by a pupil in Milan. Scientific analysis of the painting has, however, suggested that it was produced by only one artist.Several drawings have been identified as preparatory to the Madonna Litta. One, which is universally attributed to Leonardo, is a metalpoint drawing of a young woman's face in near profile, part of the Codex Vallardi in the Louvre. There is evidence that this sheet was used as an exemplum for teaching pupils in Leonardo’s workshop; on the reverse another artist has traced the outline of the face in pen and ink, a technique Leonardo himself used when developing compositions. Further evidence of pupils copying the drawing comes in the form of a direct copy, by a rather uncertain draughtsman, on a sheet which was turned over and reused for a different drawing by another sixteenth-century artist; this is now in the Städel in Frankfurt.Two other drawings, in metalpoint with white lead highlights on blue prepared paper, are attributed to a follower of Leonardo, usually considered to be Giovanni Antonio Boltraffio. One, a study for the Christ child's head, is in the Fondation Custodia in Paris; the other, in the Kupferstichkabinett in Berlin, is a drapery study for the Virgin's garments. These have been attributed to Boltraffio on the basis of the Berlin drawing's similarity to other drapery studies by the artist. It has been argued that the Paris and Berlin drawings are preparatory studies for the Madonna Litta rather than copies after it, as the drapery study shows more of the Virgin's right arm than the finished work, in which this is obscured by Christ's head. This suggests that the composition was partly pieced together from these studies.A further related drawing in the Metropolitan Museum of Art, attributed to Boltraffio, is of the Virgin's face in strict profile and does not resemble the finished painting in the Hermitage. It has been argued that this study might represent an earlier idea by a pupil for the composition of the Madonna Litta, which the master Leonardo then 'corrected' with the drawing in the Louvre.The painting was repainted by an artist other than Leonardo in Milan around 1495.

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

Codex Vallardi
Fondation Custodia
Giovanni Antonio Boltraffio
Louvre
Metropolitan Museum of Art
Milan
Städel
Uffizi


section

リッタの聖母

The Madonna Litta might be one of the paintings of the Madonna and Child recorded in Leonardo's studio before or during his first Milanese period . On a drawing in the Uffizi Leonardo noted that he had begun “two Virgin Maries” in late 1478 and an inventory of his studio written in 1482  again mentions two paintings of “Our dy”. The second of these is, according to different interpretations, either noted as being “almost finished, in profile” or “finished, almost in profile”. The Virgin's head in the Madonna Litta could be described either way, and it has therefore been argued that the painting was begun in Leonardo's first Florentine period and left unfinished until it was later worked up by a pupil in Milan. Scientific analysis of the painting has, however, suggested that it was produced by only one artist.Several drawings have been identified as preparatory to the Madonna Litta. One, which is universally attributed to Leonardo, is a metalpoint drawing of a young woman's face in near profile, part of the Codex Vallardi in the Louvre. There is evidence that this sheet was used as an exemplum for teaching pupils in Leonardo’s workshop; on the reverse another artist has traced the outline of the face in pen and ink, a technique Leonardo himself used when developing compositions. Further evidence of pupils copying the drawing comes in the form of a direct copy, by a rather uncertain draughtsman, on a sheet which was turned over and reused for a different drawing by another sixteenth-century artist; this is now in the Städel in Frankfurt.Two other drawings, in metalpoint with white lead highlights on blue prepared paper, are attributed to a follower of Leonardo, usually considered to be Giovanni Antonio Boltraffio. One, a study for the Christ child's head, is in the Fondation Custodia in Paris; the other, in the Kupferstichkabinett in Berlin, is a drapery study for the Virgin's garments. These have been attributed to Boltraffio on the basis of the Berlin drawing's similarity to other drapery studies by the artist. It has been argued that the Paris and Berlin drawings are preparatory studies for the Madonna Litta rather than copies after it, as the drapery study shows more of the Virgin's right arm than the finished work, in which this is obscured by Christ's head. This suggests that the composition was partly pieced together from these studies.A further related drawing in the Metropolitan Museum of Art, attributed to Boltraffio, is of the Virgin's face in strict profile and does not resemble the finished painting in the Hermitage. It has been argued that this study might represent an earlier idea by a pupil for the composition of the Madonna Litta, which the master Leonardo then 'corrected' with the drawing in the Louvre.The painting was repainted by an artist other than Leonardo in Milan around 1495.

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

Codex Vallardi
Fondation Custodia
Giovanni Antonio Boltraffio
Louvre
Metropolitan Museum of Art
Milan
Städel
Uffizi


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リッタの聖母

That the painting was regarded in Leonardo's lifetime as his work is suggested by the large number of copies made of it. A popular candidate for authorship is Giovanni Antonio Boltraffio. David Alan Brown argues that Marco d'Oggiono was responsible for the Madonna Litta as its composition is reflected in his later works, whereas it is not in those of Boltraffio. In the major exhibition on Leonardo's first Milanese period held at the National Gallery in London in 2011–12 the painting was attributed to Leonardo, but art historian Martin Kemp has remarked that this was "presumably a condition of the loan".Kemp said in 2017 that he regarded the painting as a Boltraffio.

Prompt: リッタの聖母に焦点を当てて、その帰属を説明してください。英語で出力して下さい。

Giovanni Antonio Boltraffio
Marco d'Oggiono
Milan
National Gallery


section

リッタの聖母

That the painting was regarded in Leonardo's lifetime as his work is suggested by the large number of copies made of it. A popular candidate for authorship is Giovanni Antonio Boltraffio. David Alan Brown argues that Marco d'Oggiono was responsible for the Madonna Litta as its composition is reflected in his later works, whereas it is not in those of Boltraffio. In the major exhibition on Leonardo's first Milanese period held at the National Gallery in London in 2011–12 the painting was attributed to Leonardo, but art historian Martin Kemp has remarked that this was "presumably a condition of the loan".Kemp said in 2017 that he regarded the painting as a Boltraffio.

Prompt: リッタの聖母の帰属を説明してください。英語で出力して下さい。

Giovanni Antonio Boltraffio
Marco d'Oggiono
Milan
National Gallery


section

リッタの聖母

That the painting was regarded in Leonardo's lifetime as his work is suggested by the large number of copies made of it. A popular candidate for authorship is Giovanni Antonio Boltraffio. David Alan Brown argues that Marco d'Oggiono was responsible for the Madonna Litta as its composition is reflected in his later works, whereas it is not in those of Boltraffio. In the major exhibition on Leonardo's first Milanese period held at the National Gallery in London in 2011–12 the painting was attributed to Leonardo, but art historian Martin Kemp has remarked that this was "presumably a condition of the loan".Kemp said in 2017 that he regarded the painting as a Boltraffio.

Prompt: リッタの聖母はどのように帰属を説明していますか？英語で出力して下さい。

Giovanni Antonio Boltraffio
Marco d'Oggiono
Milan
National Gallery


section

リッタの聖母

That the painting was regarded in Leonardo's lifetime as his work is suggested by the large number of copies made of it. A popular candidate for authorship is Giovanni Antonio Boltraffio. David Alan Brown argues that Marco d'Oggiono was responsible for the Madonna Litta as its composition is reflected in his later works, whereas it is not in those of Boltraffio. In the major exhibition on Leonardo's first Milanese period held at the National Gallery in London in 2011–12 the painting was attributed to Leonardo, but art historian Martin Kemp has remarked that this was "presumably a condition of the loan".Kemp said in 2017 that he regarded the painting as a Boltraffio.

Prompt: リッタの聖母に関して、どのように帰属が議論されていますか？英語で出力して下さい。

Giovanni Antonio Boltraffio
Marco d'Oggiono
Milan
National Gallery


section

リッタの聖母

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

Leonardo da Vinci
List of works by Leonardo da Vinci


section

リッタの聖母

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

Leonardo da Vinci
List of works by Leonardo da Vinci


section

リッタの聖母

Prompt: リッタの聖母はどのように参照を説明していますか？英語で出力して下さい。

Leonardo da Vinci
List of works by Leonardo da Vinci


section

リッタの聖母

Prompt: リッタの聖母に関して、どのように参照が議論されていますか？英語で出力して下さい。

Leonardo da Vinci
List of works by Leonardo da Vinci