section

悲しむ老人

Vincent van Gogh suffered from some form of mental illness, acutely during the last two years of his life. The official diagnosis furnished by the hospital in Arles that Van Gogh was taken to on 24 December 1888, following the celebrated incident involving his ear, was "acute mania with generalised delirium". Dr. Félix Rey, a young intern at the hospital, also suggested "a kind of epilepsy" he characterised as mental epilepsy.There is no agreement today over a modern diagnosis of Van Gogh's illness. Suggestions include epilepsy and bipolar disorder, possibly exacerbated by excessive absinthe drinking, heavy smoking and venereal disease. Symptoms were varied, but in their most severe manifestations they involved attacks of confusion and unconsciousness followed by periods of stupor and incoherence during which he was generally unable to paint, draw, or even to write letters. It was such an attack that first led him to being hospitalised at Arles, and following a later relapse, he had himself committed to the asylum at Saint-Rémy in May 1889, where he remained for the most part until May 1890.On 22 February 1890, Van Gogh suffered his most severe relapse, an episode Jan Hulsker called the longest and saddest of his life, and one which lasted some nine weeks through to late April. During this time, he was only able to write to his brother Theo once, in March 1890, and then only briefly to say he was totally stupefied  and unable to write. He did not write to Theo again until late April, but that letter makes it clear that he had been able to paint and draw a little during this time, despite his sadness and melancholy:  It is in these drawings and paintings that Hulsker sees unmistakable signs of his mental collapse, otherwise rare in his work.It is not clear whether Sorrowing Old Man  is one of the canvases referred to in his April letter. Hulsker remarks that it would have been remarkable for Van Gogh to have copied his lithograph so faithfully from memory. Nevertheless, the painting is clearly a return to the past, and both the 1970 catalogue raisonné and Hulsker cite the painting as fecit May 1890 at Saint-Rémy.

Prompt: 悲しむ老人に焦点を当てて、その創世記を説明してください。英語で出力して下さい。


section

悲しむ老人

Vincent van Gogh suffered from some form of mental illness, acutely during the last two years of his life. The official diagnosis furnished by the hospital in Arles that Van Gogh was taken to on 24 December 1888, following the celebrated incident involving his ear, was "acute mania with generalised delirium". Dr. Félix Rey, a young intern at the hospital, also suggested "a kind of epilepsy" he characterised as mental epilepsy.There is no agreement today over a modern diagnosis of Van Gogh's illness. Suggestions include epilepsy and bipolar disorder, possibly exacerbated by excessive absinthe drinking, heavy smoking and venereal disease. Symptoms were varied, but in their most severe manifestations they involved attacks of confusion and unconsciousness followed by periods of stupor and incoherence during which he was generally unable to paint, draw, or even to write letters. It was such an attack that first led him to being hospitalised at Arles, and following a later relapse, he had himself committed to the asylum at Saint-Rémy in May 1889, where he remained for the most part until May 1890.On 22 February 1890, Van Gogh suffered his most severe relapse, an episode Jan Hulsker called the longest and saddest of his life, and one which lasted some nine weeks through to late April. During this time, he was only able to write to his brother Theo once, in March 1890, and then only briefly to say he was totally stupefied  and unable to write. He did not write to Theo again until late April, but that letter makes it clear that he had been able to paint and draw a little during this time, despite his sadness and melancholy:  It is in these drawings and paintings that Hulsker sees unmistakable signs of his mental collapse, otherwise rare in his work.It is not clear whether Sorrowing Old Man  is one of the canvases referred to in his April letter. Hulsker remarks that it would have been remarkable for Van Gogh to have copied his lithograph so faithfully from memory. Nevertheless, the painting is clearly a return to the past, and both the 1970 catalogue raisonné and Hulsker cite the painting as fecit May 1890 at Saint-Rémy.

Prompt: 悲しむ老人の創世記を説明してください。英語で出力して下さい。


section

悲しむ老人

Vincent van Gogh suffered from some form of mental illness, acutely during the last two years of his life. The official diagnosis furnished by the hospital in Arles that Van Gogh was taken to on 24 December 1888, following the celebrated incident involving his ear, was "acute mania with generalised delirium". Dr. Félix Rey, a young intern at the hospital, also suggested "a kind of epilepsy" he characterised as mental epilepsy.There is no agreement today over a modern diagnosis of Van Gogh's illness. Suggestions include epilepsy and bipolar disorder, possibly exacerbated by excessive absinthe drinking, heavy smoking and venereal disease. Symptoms were varied, but in their most severe manifestations they involved attacks of confusion and unconsciousness followed by periods of stupor and incoherence during which he was generally unable to paint, draw, or even to write letters. It was such an attack that first led him to being hospitalised at Arles, and following a later relapse, he had himself committed to the asylum at Saint-Rémy in May 1889, where he remained for the most part until May 1890.On 22 February 1890, Van Gogh suffered his most severe relapse, an episode Jan Hulsker called the longest and saddest of his life, and one which lasted some nine weeks through to late April. During this time, he was only able to write to his brother Theo once, in March 1890, and then only briefly to say he was totally stupefied  and unable to write. He did not write to Theo again until late April, but that letter makes it clear that he had been able to paint and draw a little during this time, despite his sadness and melancholy:  It is in these drawings and paintings that Hulsker sees unmistakable signs of his mental collapse, otherwise rare in his work.It is not clear whether Sorrowing Old Man  is one of the canvases referred to in his April letter. Hulsker remarks that it would have been remarkable for Van Gogh to have copied his lithograph so faithfully from memory. Nevertheless, the painting is clearly a return to the past, and both the 1970 catalogue raisonné and Hulsker cite the painting as fecit May 1890 at Saint-Rémy.

Prompt: 悲しむ老人はどのように創世記を説明していますか？英語で出力して下さい。


section

悲しむ老人

Vincent van Gogh suffered from some form of mental illness, acutely during the last two years of his life. The official diagnosis furnished by the hospital in Arles that Van Gogh was taken to on 24 December 1888, following the celebrated incident involving his ear, was "acute mania with generalised delirium". Dr. Félix Rey, a young intern at the hospital, also suggested "a kind of epilepsy" he characterised as mental epilepsy.There is no agreement today over a modern diagnosis of Van Gogh's illness. Suggestions include epilepsy and bipolar disorder, possibly exacerbated by excessive absinthe drinking, heavy smoking and venereal disease. Symptoms were varied, but in their most severe manifestations they involved attacks of confusion and unconsciousness followed by periods of stupor and incoherence during which he was generally unable to paint, draw, or even to write letters. It was such an attack that first led him to being hospitalised at Arles, and following a later relapse, he had himself committed to the asylum at Saint-Rémy in May 1889, where he remained for the most part until May 1890.On 22 February 1890, Van Gogh suffered his most severe relapse, an episode Jan Hulsker called the longest and saddest of his life, and one which lasted some nine weeks through to late April. During this time, he was only able to write to his brother Theo once, in March 1890, and then only briefly to say he was totally stupefied  and unable to write. He did not write to Theo again until late April, but that letter makes it clear that he had been able to paint and draw a little during this time, despite his sadness and melancholy:  It is in these drawings and paintings that Hulsker sees unmistakable signs of his mental collapse, otherwise rare in his work.It is not clear whether Sorrowing Old Man  is one of the canvases referred to in his April letter. Hulsker remarks that it would have been remarkable for Van Gogh to have copied his lithograph so faithfully from memory. Nevertheless, the painting is clearly a return to the past, and both the 1970 catalogue raisonné and Hulsker cite the painting as fecit May 1890 at Saint-Rémy.

Prompt: 悲しむ老人に関して、どのように創世記が議論されていますか？英語で出力して下さい。


section

悲しむ老人

Prompt: 悲しむ老人に焦点を当てて、その参照を説明してください。英語で出力して下さい。

List of works by Vincent van Gogh
Vincent van Gogh


section

悲しむ老人

Prompt: 悲しむ老人の参照を説明してください。英語で出力して下さい。

List of works by Vincent van Gogh
Vincent van Gogh


section

悲しむ老人

Prompt: 悲しむ老人はどのように参照を説明していますか？英語で出力して下さい。

List of works by Vincent van Gogh
Vincent van Gogh


section

悲しむ老人

Prompt: 悲しむ老人に関して、どのように参照が議論されていますか？英語で出力して下さい。

List of works by Vincent van Gogh
Vincent van Gogh


section

悲しむ老人

Erickson, Kathleen Powers. At Eternity's Gate: The Spiritual Vision of Vincent Van Gogh. William B. Eerdmans Publishing Co., 1998.  de la Faille, Jacob-Baart. The Works of Vincent Van Gogh: His Paintings and Drawings. Amsterdam: Meulenhoff, 1970.  Hulsker, Jan. The Complete Van Gogh. Oxford: Phaidon, 1980.  Naifeh, Steven; Smith, Gregory White. Van Gogh: The Life. Profile Books, 2011.  Pomerans, Arnold. The Letters of Vincent van Gogh. Penguin Classics, 2003.

Prompt: 悲しむ老人に焦点を当てて、その参考文献を説明してください。英語で出力して下さい。

The Letters of Vincent van Gogh
Vincent van Gogh


section

悲しむ老人

Erickson, Kathleen Powers. At Eternity's Gate: The Spiritual Vision of Vincent Van Gogh. William B. Eerdmans Publishing Co., 1998.  de la Faille, Jacob-Baart. The Works of Vincent Van Gogh: His Paintings and Drawings. Amsterdam: Meulenhoff, 1970.  Hulsker, Jan. The Complete Van Gogh. Oxford: Phaidon, 1980.  Naifeh, Steven; Smith, Gregory White. Van Gogh: The Life. Profile Books, 2011.  Pomerans, Arnold. The Letters of Vincent van Gogh. Penguin Classics, 2003.

Prompt: 悲しむ老人の参考文献を説明してください。英語で出力して下さい。

The Letters of Vincent van Gogh
Vincent van Gogh


section

悲しむ老人

Erickson, Kathleen Powers. At Eternity's Gate: The Spiritual Vision of Vincent Van Gogh. William B. Eerdmans Publishing Co., 1998.  de la Faille, Jacob-Baart. The Works of Vincent Van Gogh: His Paintings and Drawings. Amsterdam: Meulenhoff, 1970.  Hulsker, Jan. The Complete Van Gogh. Oxford: Phaidon, 1980.  Naifeh, Steven; Smith, Gregory White. Van Gogh: The Life. Profile Books, 2011.  Pomerans, Arnold. The Letters of Vincent van Gogh. Penguin Classics, 2003.

Prompt: 悲しむ老人はどのように参考文献を説明していますか？英語で出力して下さい。

The Letters of Vincent van Gogh
Vincent van Gogh


section

悲しむ老人

Erickson, Kathleen Powers. At Eternity's Gate: The Spiritual Vision of Vincent Van Gogh. William B. Eerdmans Publishing Co., 1998.  de la Faille, Jacob-Baart. The Works of Vincent Van Gogh: His Paintings and Drawings. Amsterdam: Meulenhoff, 1970.  Hulsker, Jan. The Complete Van Gogh. Oxford: Phaidon, 1980.  Naifeh, Steven; Smith, Gregory White. Van Gogh: The Life. Profile Books, 2011.  Pomerans, Arnold. The Letters of Vincent van Gogh. Penguin Classics, 2003.

Prompt: 悲しむ老人に関して、どのように参考文献が議論されていますか？英語で出力して下さい。

The Letters of Vincent van Gogh
Vincent van Gogh


subsection

悲しむ老人

Writing about At Eternity's Gate in 1998, the American theologian Kathleen Powers Erickson remarked:

Prompt: 悲しむ老人の文脈で、解説とリトグラフを説明してください。英語で出力して下さい。


subsection

悲しむ老人

Writing about At Eternity's Gate in 1998, the American theologian Kathleen Powers Erickson remarked:

Prompt: 悲しむ老人のリトグラフに関する解説を説明してください。英語で出力して下さい。


subsection

悲しむ老人

Writing about At Eternity's Gate in 1998, the American theologian Kathleen Powers Erickson remarked:

Prompt: 悲しむ老人では、どのようにリトグラフの解説が説明されていますか？英語で出力して下さい。


subsection

悲しむ老人

Writing about At Eternity's Gate in 1998, the American theologian Kathleen Powers Erickson remarked:

Prompt: 悲しむ老人のリトグラフにおける解説の特徴を説明してください。英語で出力して下さい。


section

三人の哲学者

The Three Philosophers is an oil painting on canvas attributed to the Italian High Renaissance artist Giorgione.  It shows three philosophers – one young, one middle-aged, and one old.The work may have been commissioned by the Venetian noble Taddeo Contarini, a Venetian merchant with an interest in the occult and alchemy. The Three Philosophers was finished one year before the painter died. One of Giorgione’s last paintings, it is now displayed at the Kunsthistorisches Museum in Vienna. The painting was thought to have been finished by Sebastiano del Piombo, but a "new infrared reflectogram lends no support to the theory".

Prompt: 三人の哲学者に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Giorgione
High Renaissance
Kunsthistorisches Museum
Sebastiano del Piombo
Taddeo Contarini
Vienna


section

三人の哲学者

The Three Philosophers is an oil painting on canvas attributed to the Italian High Renaissance artist Giorgione.  It shows three philosophers – one young, one middle-aged, and one old.The work may have been commissioned by the Venetian noble Taddeo Contarini, a Venetian merchant with an interest in the occult and alchemy. The Three Philosophers was finished one year before the painter died. One of Giorgione’s last paintings, it is now displayed at the Kunsthistorisches Museum in Vienna. The painting was thought to have been finished by Sebastiano del Piombo, but a "new infrared reflectogram lends no support to the theory".

Prompt: 三人の哲学者の抽象を説明してください。英語で出力して下さい。

Giorgione
High Renaissance
Kunsthistorisches Museum
Sebastiano del Piombo
Taddeo Contarini
Vienna


section

三人の哲学者

The Three Philosophers is an oil painting on canvas attributed to the Italian High Renaissance artist Giorgione.  It shows three philosophers – one young, one middle-aged, and one old.The work may have been commissioned by the Venetian noble Taddeo Contarini, a Venetian merchant with an interest in the occult and alchemy. The Three Philosophers was finished one year before the painter died. One of Giorgione’s last paintings, it is now displayed at the Kunsthistorisches Museum in Vienna. The painting was thought to have been finished by Sebastiano del Piombo, but a "new infrared reflectogram lends no support to the theory".

Prompt: 三人の哲学者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。

Giorgione
High Renaissance
Kunsthistorisches Museum
Sebastiano del Piombo
Taddeo Contarini
Vienna


section

三人の哲学者

The Three Philosophers is an oil painting on canvas attributed to the Italian High Renaissance artist Giorgione.  It shows three philosophers – one young, one middle-aged, and one old.The work may have been commissioned by the Venetian noble Taddeo Contarini, a Venetian merchant with an interest in the occult and alchemy. The Three Philosophers was finished one year before the painter died. One of Giorgione’s last paintings, it is now displayed at the Kunsthistorisches Museum in Vienna. The painting was thought to have been finished by Sebastiano del Piombo, but a "new infrared reflectogram lends no support to the theory".

Prompt: 三人の哲学者に関して、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。

Giorgione
High Renaissance
Kunsthistorisches Museum
Sebastiano del Piombo
Taddeo Contarini
Vienna


section

三人の哲学者

The Three Philosophers was finished around 1509, and the current name of the work derives from a writing of Marcantonio Michiel , who saw it just some years after in a Venetian villa. The three figures portrayed are allegorical: an old bearded man, possibly a Greek philosopher;  a Persian or Arab philosopher; and a sitting young man, enclosed within a natural landscape. In the background is a village with some mountains, the latter marked by a blue area whose meaning is unknown. The young man is observing a cave on the left of the scene, and apparently measuring it with some instruments. Since the end of the 19th century scholars and critics rejected on various grounds the earlier view that it is a representation of the three Magi gathered before Jesus' grotto.

Prompt: 三人の哲学者に焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

三人の哲学者

The Three Philosophers was finished around 1509, and the current name of the work derives from a writing of Marcantonio Michiel , who saw it just some years after in a Venetian villa. The three figures portrayed are allegorical: an old bearded man, possibly a Greek philosopher;  a Persian or Arab philosopher; and a sitting young man, enclosed within a natural landscape. In the background is a village with some mountains, the latter marked by a blue area whose meaning is unknown. The young man is observing a cave on the left of the scene, and apparently measuring it with some instruments. Since the end of the 19th century scholars and critics rejected on various grounds the earlier view that it is a representation of the three Magi gathered before Jesus' grotto.

Prompt: 三人の哲学者の説明を説明してください。英語で出力して下さい。


section

三人の哲学者

The Three Philosophers was finished around 1509, and the current name of the work derives from a writing of Marcantonio Michiel , who saw it just some years after in a Venetian villa. The three figures portrayed are allegorical: an old bearded man, possibly a Greek philosopher;  a Persian or Arab philosopher; and a sitting young man, enclosed within a natural landscape. In the background is a village with some mountains, the latter marked by a blue area whose meaning is unknown. The young man is observing a cave on the left of the scene, and apparently measuring it with some instruments. Since the end of the 19th century scholars and critics rejected on various grounds the earlier view that it is a representation of the three Magi gathered before Jesus' grotto.

Prompt: 三人の哲学者はどのように説明を説明していますか？英語で出力して下さい。


section

三人の哲学者

The Three Philosophers was finished around 1509, and the current name of the work derives from a writing of Marcantonio Michiel , who saw it just some years after in a Venetian villa. The three figures portrayed are allegorical: an old bearded man, possibly a Greek philosopher;  a Persian or Arab philosopher; and a sitting young man, enclosed within a natural landscape. In the background is a village with some mountains, the latter marked by a blue area whose meaning is unknown. The young man is observing a cave on the left of the scene, and apparently measuring it with some instruments. Since the end of the 19th century scholars and critics rejected on various grounds the earlier view that it is a representation of the three Magi gathered before Jesus' grotto.

Prompt: 三人の哲学者に関して、どのように説明が議論されていますか？英語で出力して下さい。


section

三人の哲学者

Various interpretations about Giorgione's picture have been proposed. The Three Philosophers — the old man, the Arab figure, and the young man — could depict the transmission of knowledge, the Transmission of the Classics from the ancient Greeks philosophy through the Arab translations, that became actual again around the Italian Renaissance. The old man is representing a Greek philosopher, such as Plato or Aristotle, whose writings have been copied and transmitted through the Arab philosophers to the Italian Renaissance. The Arab philosopher is possibly representing the polyhistor Avicenna or Averroes, both Arab philosophers and Arab scientists from the Islamic Golden Age.The young man could be seen as the new Renaissance science with roots in the past, looking into the empty darkness of the cave, symbolizing the yet undiscovered secrets. The cave might also symbolize the philosophic concept of Plato's Cave.  The possibility that the three men are King Solomon, Hiram I, King of Tyre, and Hiram Abiff has been advanced by Neil K. MacLennan and Ross S. Kilpatrick.It has been suggested that the figure of the young man can be inscribed neatly in a right-angled triangle for which the Pythagorean theorem applies. Karin Zeleny, relying on a reading of Polydore Vergil has proposed that the philosophers are the teachers of Pythagoras – Pherecydes of Syros and Thales. Thales has been painted as a Jew, while Pherecydes was mistakenly believed to be a Syrian. This interpretation was modified by Frank Keim who claimed that the older philosopher is in fact Aristarchus of SamosOther scholars have asserted that the figures are typical representations for three stages of humanity , three epochs of European civilization , the three Abrahamic religions or some combination of such general conceptions. Augusto Gentili proposed that the picture illustrates the waiting for the Antichrist, based on conjunctionist astrology. On the sheet held by the oldest philosopher the word "eclipsis" and an astronomical diagram can be seen. The great conjunction of 1503 and the eclipse the same year were believed to be signs announcing its coming.James Panero writes that, in interpreting The Three Philosophers, he is "partial to the poetic approach proposed by art historian Tom Nichols in his book Giorgione’s Ambiguity, in which he suggests that our interpretation is meant to remain free-floating and open-ended. Deliberate ambiguities, he writes, are Giorgione’s 'visual traps set to capture the viewer's curiosity and speculation.'"

Prompt: 三人の哲学者に焦点を当てて、その解釈を説明してください。英語で出力して下さい。

Abrahamic religions
Aristarchus of Samos
Aristotle
Augusto Gentili
Averroes
Avicenna
Giorgione
Hiram Abiff
Hiram I
Islamic Golden Age
Italian Renaissance
James Panero
Solomon
Pherecydes of Syros
Plato
Polydore Vergil
Pythagoras
Pythagorean theorem


section

三人の哲学者

Various interpretations about Giorgione's picture have been proposed. The Three Philosophers — the old man, the Arab figure, and the young man — could depict the transmission of knowledge, the Transmission of the Classics from the ancient Greeks philosophy through the Arab translations, that became actual again around the Italian Renaissance. The old man is representing a Greek philosopher, such as Plato or Aristotle, whose writings have been copied and transmitted through the Arab philosophers to the Italian Renaissance. The Arab philosopher is possibly representing the polyhistor Avicenna or Averroes, both Arab philosophers and Arab scientists from the Islamic Golden Age.The young man could be seen as the new Renaissance science with roots in the past, looking into the empty darkness of the cave, symbolizing the yet undiscovered secrets. The cave might also symbolize the philosophic concept of Plato's Cave.  The possibility that the three men are King Solomon, Hiram I, King of Tyre, and Hiram Abiff has been advanced by Neil K. MacLennan and Ross S. Kilpatrick.It has been suggested that the figure of the young man can be inscribed neatly in a right-angled triangle for which the Pythagorean theorem applies. Karin Zeleny, relying on a reading of Polydore Vergil has proposed that the philosophers are the teachers of Pythagoras – Pherecydes of Syros and Thales. Thales has been painted as a Jew, while Pherecydes was mistakenly believed to be a Syrian. This interpretation was modified by Frank Keim who claimed that the older philosopher is in fact Aristarchus of SamosOther scholars have asserted that the figures are typical representations for three stages of humanity , three epochs of European civilization , the three Abrahamic religions or some combination of such general conceptions. Augusto Gentili proposed that the picture illustrates the waiting for the Antichrist, based on conjunctionist astrology. On the sheet held by the oldest philosopher the word "eclipsis" and an astronomical diagram can be seen. The great conjunction of 1503 and the eclipse the same year were believed to be signs announcing its coming.James Panero writes that, in interpreting The Three Philosophers, he is "partial to the poetic approach proposed by art historian Tom Nichols in his book Giorgione’s Ambiguity, in which he suggests that our interpretation is meant to remain free-floating and open-ended. Deliberate ambiguities, he writes, are Giorgione’s 'visual traps set to capture the viewer's curiosity and speculation.'"

Prompt: 三人の哲学者の解釈を説明してください。英語で出力して下さい。

Abrahamic religions
Aristarchus of Samos
Aristotle
Augusto Gentili
Averroes
Avicenna
Giorgione
Hiram Abiff
Hiram I
Islamic Golden Age
Italian Renaissance
James Panero
Solomon
Pherecydes of Syros
Plato
Polydore Vergil
Pythagoras
Pythagorean theorem


section

三人の哲学者

Various interpretations about Giorgione's picture have been proposed. The Three Philosophers — the old man, the Arab figure, and the young man — could depict the transmission of knowledge, the Transmission of the Classics from the ancient Greeks philosophy through the Arab translations, that became actual again around the Italian Renaissance. The old man is representing a Greek philosopher, such as Plato or Aristotle, whose writings have been copied and transmitted through the Arab philosophers to the Italian Renaissance. The Arab philosopher is possibly representing the polyhistor Avicenna or Averroes, both Arab philosophers and Arab scientists from the Islamic Golden Age.The young man could be seen as the new Renaissance science with roots in the past, looking into the empty darkness of the cave, symbolizing the yet undiscovered secrets. The cave might also symbolize the philosophic concept of Plato's Cave.  The possibility that the three men are King Solomon, Hiram I, King of Tyre, and Hiram Abiff has been advanced by Neil K. MacLennan and Ross S. Kilpatrick.It has been suggested that the figure of the young man can be inscribed neatly in a right-angled triangle for which the Pythagorean theorem applies. Karin Zeleny, relying on a reading of Polydore Vergil has proposed that the philosophers are the teachers of Pythagoras – Pherecydes of Syros and Thales. Thales has been painted as a Jew, while Pherecydes was mistakenly believed to be a Syrian. This interpretation was modified by Frank Keim who claimed that the older philosopher is in fact Aristarchus of SamosOther scholars have asserted that the figures are typical representations for three stages of humanity , three epochs of European civilization , the three Abrahamic religions or some combination of such general conceptions. Augusto Gentili proposed that the picture illustrates the waiting for the Antichrist, based on conjunctionist astrology. On the sheet held by the oldest philosopher the word "eclipsis" and an astronomical diagram can be seen. The great conjunction of 1503 and the eclipse the same year were believed to be signs announcing its coming.James Panero writes that, in interpreting The Three Philosophers, he is "partial to the poetic approach proposed by art historian Tom Nichols in his book Giorgione’s Ambiguity, in which he suggests that our interpretation is meant to remain free-floating and open-ended. Deliberate ambiguities, he writes, are Giorgione’s 'visual traps set to capture the viewer's curiosity and speculation.'"

Prompt: 三人の哲学者はどのように解釈を説明していますか？英語で出力して下さい。

Abrahamic religions
Aristarchus of Samos
Aristotle
Augusto Gentili
Averroes
Avicenna
Giorgione
Hiram Abiff
Hiram I
Islamic Golden Age
Italian Renaissance
James Panero
Solomon
Pherecydes of Syros
Plato
Polydore Vergil
Pythagoras
Pythagorean theorem


section

三人の哲学者

Various interpretations about Giorgione's picture have been proposed. The Three Philosophers — the old man, the Arab figure, and the young man — could depict the transmission of knowledge, the Transmission of the Classics from the ancient Greeks philosophy through the Arab translations, that became actual again around the Italian Renaissance. The old man is representing a Greek philosopher, such as Plato or Aristotle, whose writings have been copied and transmitted through the Arab philosophers to the Italian Renaissance. The Arab philosopher is possibly representing the polyhistor Avicenna or Averroes, both Arab philosophers and Arab scientists from the Islamic Golden Age.The young man could be seen as the new Renaissance science with roots in the past, looking into the empty darkness of the cave, symbolizing the yet undiscovered secrets. The cave might also symbolize the philosophic concept of Plato's Cave.  The possibility that the three men are King Solomon, Hiram I, King of Tyre, and Hiram Abiff has been advanced by Neil K. MacLennan and Ross S. Kilpatrick.It has been suggested that the figure of the young man can be inscribed neatly in a right-angled triangle for which the Pythagorean theorem applies. Karin Zeleny, relying on a reading of Polydore Vergil has proposed that the philosophers are the teachers of Pythagoras – Pherecydes of Syros and Thales. Thales has been painted as a Jew, while Pherecydes was mistakenly believed to be a Syrian. This interpretation was modified by Frank Keim who claimed that the older philosopher is in fact Aristarchus of SamosOther scholars have asserted that the figures are typical representations for three stages of humanity , three epochs of European civilization , the three Abrahamic religions or some combination of such general conceptions. Augusto Gentili proposed that the picture illustrates the waiting for the Antichrist, based on conjunctionist astrology. On the sheet held by the oldest philosopher the word "eclipsis" and an astronomical diagram can be seen. The great conjunction of 1503 and the eclipse the same year were believed to be signs announcing its coming.James Panero writes that, in interpreting The Three Philosophers, he is "partial to the poetic approach proposed by art historian Tom Nichols in his book Giorgione’s Ambiguity, in which he suggests that our interpretation is meant to remain free-floating and open-ended. Deliberate ambiguities, he writes, are Giorgione’s 'visual traps set to capture the viewer's curiosity and speculation.'"

Prompt: 三人の哲学者に関して、どのように解釈が議論されていますか？英語で出力して下さい。

Abrahamic religions
Aristarchus of Samos
Aristotle
Augusto Gentili
Averroes
Avicenna
Giorgione
Hiram Abiff
Hiram I
Islamic Golden Age
Italian Renaissance
James Panero
Solomon
Pherecydes of Syros
Plato
Polydore Vergil
Pythagoras
Pythagorean theorem


section

三人の哲学者

This painting was documented in David Teniers the Younger's catalog Theatrum Pictorium of the art collection of Archduke Leopold Wilhelm in 1659 and again in 1673, but the portrait had already gained attention from Teniers' portrayals of the Archduke's art collection: Tenier's copies that he made of the exhibits have long been recognised as a valuable historical resource.This painting is displayed at the Kunsthistorisches Museum in Vienna. While working on his picture, David Teniers the Younger made tiny separate copies of each and every picture as a study for the final big painting, depicting the duke's collection. It is a small copy that measures 21.5 x 30.9 cm.

Prompt: 三人の哲学者に焦点を当てて、そのテアトルム・ピクトリウムを説明してください。英語で出力して下さい。

David Teniers the Younger
Kunsthistorisches Museum
Theatrum Pictorium
Vienna


section

三人の哲学者

This painting was documented in David Teniers the Younger's catalog Theatrum Pictorium of the art collection of Archduke Leopold Wilhelm in 1659 and again in 1673, but the portrait had already gained attention from Teniers' portrayals of the Archduke's art collection: Tenier's copies that he made of the exhibits have long been recognised as a valuable historical resource.This painting is displayed at the Kunsthistorisches Museum in Vienna. While working on his picture, David Teniers the Younger made tiny separate copies of each and every picture as a study for the final big painting, depicting the duke's collection. It is a small copy that measures 21.5 x 30.9 cm.

Prompt: 三人の哲学者のテアトルム・ピクトリウムを説明してください。英語で出力して下さい。

David Teniers the Younger
Kunsthistorisches Museum
Theatrum Pictorium
Vienna


section

三人の哲学者

This painting was documented in David Teniers the Younger's catalog Theatrum Pictorium of the art collection of Archduke Leopold Wilhelm in 1659 and again in 1673, but the portrait had already gained attention from Teniers' portrayals of the Archduke's art collection: Tenier's copies that he made of the exhibits have long been recognised as a valuable historical resource.This painting is displayed at the Kunsthistorisches Museum in Vienna. While working on his picture, David Teniers the Younger made tiny separate copies of each and every picture as a study for the final big painting, depicting the duke's collection. It is a small copy that measures 21.5 x 30.9 cm.

Prompt: 三人の哲学者はどのようにテアトルム・ピクトリウムを説明していますか？英語で出力して下さい。

David Teniers the Younger
Kunsthistorisches Museum
Theatrum Pictorium
Vienna


section

三人の哲学者

This painting was documented in David Teniers the Younger's catalog Theatrum Pictorium of the art collection of Archduke Leopold Wilhelm in 1659 and again in 1673, but the portrait had already gained attention from Teniers' portrayals of the Archduke's art collection: Tenier's copies that he made of the exhibits have long been recognised as a valuable historical resource.This painting is displayed at the Kunsthistorisches Museum in Vienna. While working on his picture, David Teniers the Younger made tiny separate copies of each and every picture as a study for the final big painting, depicting the duke's collection. It is a small copy that measures 21.5 x 30.9 cm.

Prompt: 三人の哲学者に関して、どのようにテアトルム・ピクトリウムが議論されていますか？英語で出力して下さい。

David Teniers the Younger
Kunsthistorisches Museum
Theatrum Pictorium
Vienna


section

サン・ロマーノの戦い

type = egg tempera with walnut oil and linseed oil on poplar museum = National Gallery, Galleria degli Uffizi, Musée du Louvre}}The Battle of San Romano is a set of three paintings by the Florentine painter Paolo Uccello depicting events that took place at the Battle of San Romano between Florentine and Sienese forces in 1432. They are significant as revealing the development of linear perspective in early Italian Renaissance painting, and are unusual as a major secular commission. The paintings are in egg tempera on wooden panels, each over 3 metres long. According to the National Gallery, the panels were commissioned by a member of the Bartolini Salimbeni family in Florence sometime between 1435 and 1460. The paintings were much admired in the 15th century; Lorenzo de' Medici so coveted them that he purchased one and had the remaining two forcibly removed to the Palazzo Medici. They are now divided between three collections, the National Gallery, London, the Galleria degli Uffizi, Florence, and the Musée du Louvre, Paris.

Prompt: サン・ロマーノの戦いに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Battle of San Romano
Florence
Uffizi
Italian Renaissance painting
Lorenzo de' Medici
Louvre
National Gallery
Paolo Uccello


section

サン・ロマーノの戦い

type = egg tempera with walnut oil and linseed oil on poplar museum = National Gallery, Galleria degli Uffizi, Musée du Louvre}}The Battle of San Romano is a set of three paintings by the Florentine painter Paolo Uccello depicting events that took place at the Battle of San Romano between Florentine and Sienese forces in 1432. They are significant as revealing the development of linear perspective in early Italian Renaissance painting, and are unusual as a major secular commission. The paintings are in egg tempera on wooden panels, each over 3 metres long. According to the National Gallery, the panels were commissioned by a member of the Bartolini Salimbeni family in Florence sometime between 1435 and 1460. The paintings were much admired in the 15th century; Lorenzo de' Medici so coveted them that he purchased one and had the remaining two forcibly removed to the Palazzo Medici. They are now divided between three collections, the National Gallery, London, the Galleria degli Uffizi, Florence, and the Musée du Louvre, Paris.

Prompt: サン・ロマーノの戦いの抽象を説明してください。英語で出力して下さい。

Battle of San Romano
Florence
Uffizi
Italian Renaissance painting
Lorenzo de' Medici
Louvre
National Gallery
Paolo Uccello


section

サン・ロマーノの戦い

type = egg tempera with walnut oil and linseed oil on poplar museum = National Gallery, Galleria degli Uffizi, Musée du Louvre}}The Battle of San Romano is a set of three paintings by the Florentine painter Paolo Uccello depicting events that took place at the Battle of San Romano between Florentine and Sienese forces in 1432. They are significant as revealing the development of linear perspective in early Italian Renaissance painting, and are unusual as a major secular commission. The paintings are in egg tempera on wooden panels, each over 3 metres long. According to the National Gallery, the panels were commissioned by a member of the Bartolini Salimbeni family in Florence sometime between 1435 and 1460. The paintings were much admired in the 15th century; Lorenzo de' Medici so coveted them that he purchased one and had the remaining two forcibly removed to the Palazzo Medici. They are now divided between three collections, the National Gallery, London, the Galleria degli Uffizi, Florence, and the Musée du Louvre, Paris.

Prompt: サン・ロマーノの戦い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。

Battle of San Romano
Florence
Uffizi
Italian Renaissance painting
Lorenzo de' Medici
Louvre
National Gallery
Paolo Uccello


section

サン・ロマーノの戦い

type = egg tempera with walnut oil and linseed oil on poplar museum = National Gallery, Galleria degli Uffizi, Musée du Louvre}}The Battle of San Romano is a set of three paintings by the Florentine painter Paolo Uccello depicting events that took place at the Battle of San Romano between Florentine and Sienese forces in 1432. They are significant as revealing the development of linear perspective in early Italian Renaissance painting, and are unusual as a major secular commission. The paintings are in egg tempera on wooden panels, each over 3 metres long. According to the National Gallery, the panels were commissioned by a member of the Bartolini Salimbeni family in Florence sometime between 1435 and 1460. The paintings were much admired in the 15th century; Lorenzo de' Medici so coveted them that he purchased one and had the remaining two forcibly removed to the Palazzo Medici. They are now divided between three collections, the National Gallery, London, the Galleria degli Uffizi, Florence, and the Musée du Louvre, Paris.

Prompt: サン・ロマーノの戦いに関して、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。

Battle of San Romano
Florence
Uffizi
Italian Renaissance painting
Lorenzo de' Medici
Louvre
National Gallery
Paolo Uccello


section

サン・ロマーノの戦い

The three paintings are:The Uffizi panel was probably designed to be the central painting of the triptych and is the only one signed by the artist.  The sequence most widely agreed among art historians is: London, Uffizi, Louvre, although others have been proposed.  They may represent different times of day: dawn , mid-day  and dusk  – the battle lasted eight hours.In the London painting, Niccolò da Tolentino, with his large gold and red patterned hat, is seen leading the Florentine cavalry. He had a reputation for recklessness, and doesn't even wear a helmet, though he sent two messengers  to tell his allied army of Attendolo to hurry to his aid as he is facing a superior force. In the foreground, broken lances and a dead soldier are carefully aligned into orthogonals, so as to create an impression of perspective. Similar to that of a tapestry, the landscape rises up in a picture plane as opposed to receding deeply into space. This illusion of a backdrop and a perspective theme resembling a stage, depicts the war as a theatrical ceremony. The three paintings were designed to be hung high on three different walls of a room, and the perspective designed with that height in mind, which accounts for many apparent anomalies in the perspective when seen in photos or at normal gallery height.Many areas of the paintings were covered with gold and silver leaf. While the gold leaf, such as that found on the decorations of the bridles, has remained bright, the silver leaf, found particularly on the armour of the soldiers, has oxidized to a dull grey or black.  The original impression of the burnished silver would have been dazzling.  All of the paintings, especially that in the Louvre, have suffered from time and early restoration, and many areas have lost their modelling.The panels were a subject in the BBC series The Private Life of a Masterpiece .

Prompt: サン・ロマーノの戦いに焦点を当てて、その主語を説明してください。英語で出力して下さい。

Uffizi
Louvre
The Private Life of a Masterpiece


section

サン・ロマーノの戦い

The three paintings are:The Uffizi panel was probably designed to be the central painting of the triptych and is the only one signed by the artist.  The sequence most widely agreed among art historians is: London, Uffizi, Louvre, although others have been proposed.  They may represent different times of day: dawn , mid-day  and dusk  – the battle lasted eight hours.In the London painting, Niccolò da Tolentino, with his large gold and red patterned hat, is seen leading the Florentine cavalry. He had a reputation for recklessness, and doesn't even wear a helmet, though he sent two messengers  to tell his allied army of Attendolo to hurry to his aid as he is facing a superior force. In the foreground, broken lances and a dead soldier are carefully aligned into orthogonals, so as to create an impression of perspective. Similar to that of a tapestry, the landscape rises up in a picture plane as opposed to receding deeply into space. This illusion of a backdrop and a perspective theme resembling a stage, depicts the war as a theatrical ceremony. The three paintings were designed to be hung high on three different walls of a room, and the perspective designed with that height in mind, which accounts for many apparent anomalies in the perspective when seen in photos or at normal gallery height.Many areas of the paintings were covered with gold and silver leaf. While the gold leaf, such as that found on the decorations of the bridles, has remained bright, the silver leaf, found particularly on the armour of the soldiers, has oxidized to a dull grey or black.  The original impression of the burnished silver would have been dazzling.  All of the paintings, especially that in the Louvre, have suffered from time and early restoration, and many areas have lost their modelling.The panels were a subject in the BBC series The Private Life of a Masterpiece .

Prompt: サン・ロマーノの戦いの主語を説明してください。英語で出力して下さい。

Uffizi
Louvre
The Private Life of a Masterpiece


section

サン・ロマーノの戦い

The three paintings are:The Uffizi panel was probably designed to be the central painting of the triptych and is the only one signed by the artist.  The sequence most widely agreed among art historians is: London, Uffizi, Louvre, although others have been proposed.  They may represent different times of day: dawn , mid-day  and dusk  – the battle lasted eight hours.In the London painting, Niccolò da Tolentino, with his large gold and red patterned hat, is seen leading the Florentine cavalry. He had a reputation for recklessness, and doesn't even wear a helmet, though he sent two messengers  to tell his allied army of Attendolo to hurry to his aid as he is facing a superior force. In the foreground, broken lances and a dead soldier are carefully aligned into orthogonals, so as to create an impression of perspective. Similar to that of a tapestry, the landscape rises up in a picture plane as opposed to receding deeply into space. This illusion of a backdrop and a perspective theme resembling a stage, depicts the war as a theatrical ceremony. The three paintings were designed to be hung high on three different walls of a room, and the perspective designed with that height in mind, which accounts for many apparent anomalies in the perspective when seen in photos or at normal gallery height.Many areas of the paintings were covered with gold and silver leaf. While the gold leaf, such as that found on the decorations of the bridles, has remained bright, the silver leaf, found particularly on the armour of the soldiers, has oxidized to a dull grey or black.  The original impression of the burnished silver would have been dazzling.  All of the paintings, especially that in the Louvre, have suffered from time and early restoration, and many areas have lost their modelling.The panels were a subject in the BBC series The Private Life of a Masterpiece .

Prompt: サン・ロマーノの戦いはどのように主語を説明していますか？英語で出力して下さい。

Uffizi
Louvre
The Private Life of a Masterpiece


section

サン・ロマーノの戦い

The three paintings are:The Uffizi panel was probably designed to be the central painting of the triptych and is the only one signed by the artist.  The sequence most widely agreed among art historians is: London, Uffizi, Louvre, although others have been proposed.  They may represent different times of day: dawn , mid-day  and dusk  – the battle lasted eight hours.In the London painting, Niccolò da Tolentino, with his large gold and red patterned hat, is seen leading the Florentine cavalry. He had a reputation for recklessness, and doesn't even wear a helmet, though he sent two messengers  to tell his allied army of Attendolo to hurry to his aid as he is facing a superior force. In the foreground, broken lances and a dead soldier are carefully aligned into orthogonals, so as to create an impression of perspective. Similar to that of a tapestry, the landscape rises up in a picture plane as opposed to receding deeply into space. This illusion of a backdrop and a perspective theme resembling a stage, depicts the war as a theatrical ceremony. The three paintings were designed to be hung high on three different walls of a room, and the perspective designed with that height in mind, which accounts for many apparent anomalies in the perspective when seen in photos or at normal gallery height.Many areas of the paintings were covered with gold and silver leaf. While the gold leaf, such as that found on the decorations of the bridles, has remained bright, the silver leaf, found particularly on the armour of the soldiers, has oxidized to a dull grey or black.  The original impression of the burnished silver would have been dazzling.  All of the paintings, especially that in the Louvre, have suffered from time and early restoration, and many areas have lost their modelling.The panels were a subject in the BBC series The Private Life of a Masterpiece .

Prompt: サン・ロマーノの戦いに関して、どのように主語が議論されていますか？英語で出力して下さい。

Uffizi
Louvre
The Private Life of a Masterpiece


section

サン・ロマーノの戦い

The dark horse in the Louvre panel, mounted by Micheletto Attendolo , can be seen painted in a tapestry, in the first segment  of the 1968 omnibus film Spirits of the Dead.In the 4th Episode  of the 2011 TV Series The Borgias, the London and Louvre panel is shown adorning the dining hall walls of the Florentine Prince when cardinal Della Rovere visits him in Florence.

Prompt: サン・ロマーノの戦いに焦点を当てて、その大衆文化の中の参照を説明してください。英語で出力して下さい。

Florence
Micheletto Attendolo
Louvre
Spirits of the Dead


section

サン・ロマーノの戦い

The dark horse in the Louvre panel, mounted by Micheletto Attendolo , can be seen painted in a tapestry, in the first segment  of the 1968 omnibus film Spirits of the Dead.In the 4th Episode  of the 2011 TV Series The Borgias, the London and Louvre panel is shown adorning the dining hall walls of the Florentine Prince when cardinal Della Rovere visits him in Florence.

Prompt: サン・ロマーノの戦いの大衆文化の中の参照を説明してください。英語で出力して下さい。

Florence
Micheletto Attendolo
Louvre
Spirits of the Dead


section

サン・ロマーノの戦い

The dark horse in the Louvre panel, mounted by Micheletto Attendolo , can be seen painted in a tapestry, in the first segment  of the 1968 omnibus film Spirits of the Dead.In the 4th Episode  of the 2011 TV Series The Borgias, the London and Louvre panel is shown adorning the dining hall walls of the Florentine Prince when cardinal Della Rovere visits him in Florence.

Prompt: サン・ロマーノの戦いはどのように大衆文化の中の参照を説明していますか？英語で出力して下さい。

Florence
Micheletto Attendolo
Louvre
Spirits of the Dead


section

サン・ロマーノの戦い

The dark horse in the Louvre panel, mounted by Micheletto Attendolo , can be seen painted in a tapestry, in the first segment  of the 1968 omnibus film Spirits of the Dead.In the 4th Episode  of the 2011 TV Series The Borgias, the London and Louvre panel is shown adorning the dining hall walls of the Florentine Prince when cardinal Della Rovere visits him in Florence.

Prompt: サン・ロマーノの戦いに関して、どのように大衆文化の中の参照が議論されていますか？英語で出力して下さい。

Florence
Micheletto Attendolo
Louvre
Spirits of the Dead


section

サン・ロマーノの戦い

</ref>  audio1 =Italian Renaissance paintingFunerary Monument to Sir John HawkwoodEquestrian Statue of Niccolò da TolentinoThe Annunciation and Seven Saints by Filippo Lippi, also from the decoration of Palazzo Medici 100 Great Paintings

Prompt: サン・ロマーノの戦いに焦点を当てて、その参照を説明してください。英語で出力して下さい。

100 Great Paintings
Filippo Lippi
Funerary Monument to Sir John Hawkwood
Italian Renaissance painting


section

サン・ロマーノの戦い

</ref>  audio1 =Italian Renaissance paintingFunerary Monument to Sir John HawkwoodEquestrian Statue of Niccolò da TolentinoThe Annunciation and Seven Saints by Filippo Lippi, also from the decoration of Palazzo Medici 100 Great Paintings

Prompt: サン・ロマーノの戦いの参照を説明してください。英語で出力して下さい。

100 Great Paintings
Filippo Lippi
Funerary Monument to Sir John Hawkwood
Italian Renaissance painting


section

サン・ロマーノの戦い

</ref>  audio1 =Italian Renaissance paintingFunerary Monument to Sir John HawkwoodEquestrian Statue of Niccolò da TolentinoThe Annunciation and Seven Saints by Filippo Lippi, also from the decoration of Palazzo Medici 100 Great Paintings

Prompt: サン・ロマーノの戦い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。

100 Great Paintings
Filippo Lippi
Funerary Monument to Sir John Hawkwood
Italian Renaissance painting


section

サン・ロマーノの戦い

</ref>  audio1 =Italian Renaissance paintingFunerary Monument to Sir John HawkwoodEquestrian Statue of Niccolò da TolentinoThe Annunciation and Seven Saints by Filippo Lippi, also from the decoration of Palazzo Medici 100 Great Paintings

Prompt: サン・ロマーノの戦いに関して、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。

100 Great Paintings
Filippo Lippi
Funerary Monument to Sir John Hawkwood
Italian Renaissance painting


section

サン・ロマーノの戦い

Harrington, Peter, "Military history's loss is Art History's Gain," Quarterly Journal of Military History, Vol. 16, No. 1, Autumn 2003, pp. 44–49. Starn, Randolph and Loren Partridge, "Representing war in the Renaissance: The shield of Paolo Uccello," Representations, No. 5, Winter 1984, 33–65.

Prompt: サン・ロマーノの戦いに焦点を当てて、そのさらなる読書を説明してください。英語で出力して下さい。


section

サン・ロマーノの戦い

Harrington, Peter, "Military history's loss is Art History's Gain," Quarterly Journal of Military History, Vol. 16, No. 1, Autumn 2003, pp. 44–49. Starn, Randolph and Loren Partridge, "Representing war in the Renaissance: The shield of Paolo Uccello," Representations, No. 5, Winter 1984, 33–65.

Prompt: サン・ロマーノの戦いのさらなる読書を説明してください。英語で出力して下さい。


section

サン・ロマーノの戦い

Harrington, Peter, "Military history's loss is Art History's Gain," Quarterly Journal of Military History, Vol. 16, No. 1, Autumn 2003, pp. 44–49. Starn, Randolph and Loren Partridge, "Representing war in the Renaissance: The shield of Paolo Uccello," Representations, No. 5, Winter 1984, 33–65.

Prompt: サン・ロマーノの戦いはどのようにさらなる読書を説明していますか？英語で出力して下さい。


section

サン・ロマーノの戦い

Harrington, Peter, "Military history's loss is Art History's Gain," Quarterly Journal of Military History, Vol. 16, No. 1, Autumn 2003, pp. 44–49. Starn, Randolph and Loren Partridge, "Representing war in the Renaissance: The shield of Paolo Uccello," Representations, No. 5, Winter 1984, 33–65.

Prompt: サン・ロマーノの戦いに関して、どのようにさらなる読書が議論されていますか？英語で出力して下さい。


section

聖愛と俗愛

Sacred and Profane Love  is an oil painting by Titian, probably painted in 1514, early in his career. The painting is presumed to have been commissioned by Niccolò Aurelio, a secretary to the Venetian Council of Ten, whose coat of arms appears on the sarcophagus or fountain, to celebrate his marriage to a young widow, ura Bagarotto. It perhaps depicts a figure representing the bride dressed in white, sitting beside Cupid and accompanied by the goddess Venus.The title of the painting is first recorded in 1693, when it was listed in an inventory as  , and may not represent the original concept at all.Although "much ink has been spilt by art historians attempting to decipher the iconography of the painting", and some measure of consensus has been achieved, basic aspects of the intended meaning of the painting, including the identity of the central figures, remain disputed.

Prompt: 聖愛と俗愛に焦点を当てて、その抽象を説明してください。英語で出力して下さい。


section

聖愛と俗愛

Sacred and Profane Love  is an oil painting by Titian, probably painted in 1514, early in his career. The painting is presumed to have been commissioned by Niccolò Aurelio, a secretary to the Venetian Council of Ten, whose coat of arms appears on the sarcophagus or fountain, to celebrate his marriage to a young widow, ura Bagarotto. It perhaps depicts a figure representing the bride dressed in white, sitting beside Cupid and accompanied by the goddess Venus.The title of the painting is first recorded in 1693, when it was listed in an inventory as  , and may not represent the original concept at all.Although "much ink has been spilt by art historians attempting to decipher the iconography of the painting", and some measure of consensus has been achieved, basic aspects of the intended meaning of the painting, including the identity of the central figures, remain disputed.

Prompt: 聖愛と俗愛の抽象を説明してください。英語で出力して下さい。


section

聖愛と俗愛

Sacred and Profane Love  is an oil painting by Titian, probably painted in 1514, early in his career. The painting is presumed to have been commissioned by Niccolò Aurelio, a secretary to the Venetian Council of Ten, whose coat of arms appears on the sarcophagus or fountain, to celebrate his marriage to a young widow, ura Bagarotto. It perhaps depicts a figure representing the bride dressed in white, sitting beside Cupid and accompanied by the goddess Venus.The title of the painting is first recorded in 1693, when it was listed in an inventory as  , and may not represent the original concept at all.Although "much ink has been spilt by art historians attempting to decipher the iconography of the painting", and some measure of consensus has been achieved, basic aspects of the intended meaning of the painting, including the identity of the central figures, remain disputed.

Prompt: 聖愛と俗愛はどのように抽象を説明していますか？英語で出力して下さい。


section

聖愛と俗愛

Sacred and Profane Love  is an oil painting by Titian, probably painted in 1514, early in his career. The painting is presumed to have been commissioned by Niccolò Aurelio, a secretary to the Venetian Council of Ten, whose coat of arms appears on the sarcophagus or fountain, to celebrate his marriage to a young widow, ura Bagarotto. It perhaps depicts a figure representing the bride dressed in white, sitting beside Cupid and accompanied by the goddess Venus.The title of the painting is first recorded in 1693, when it was listed in an inventory as  , and may not represent the original concept at all.Although "much ink has been spilt by art historians attempting to decipher the iconography of the painting", and some measure of consensus has been achieved, basic aspects of the intended meaning of the painting, including the identity of the central figures, remain disputed.

Prompt: 聖愛と俗愛に関して、どのように抽象が議論されていますか？英語で出力して下さい。


section

聖愛と俗愛

Two women, who appear to be modelled on the same person, sit on a carved Ancient Roman sarcophagus that has been converted to a water-trough, or a trough made to look like a Roman sarcophagus; the broad ledges here are not found in actual sarcophagi.  How the water enters is unclear, but it leaves through a phallic-looking brass spout between the two women, next to an anachronistic coat of arms in the carving.  This belongs to Niccolò Aurelio, whose presence in the picture is probably also represented by the spout.Between the two women is a small winged boy, who may be Cupid, son and companion of Venus, or merely a putto.  He is looking intently into the water, and splashing a hand in it.  The woman on the left is fully and richly dressed; her clothes are now usually recognized as those of a bride, though in the past they have been said to be typical of courtesan wear.  In her hair she wears myrtle, both a flower sacred to Venus and one worn by brides.In contrast, the woman on the right is nude except for a white cloth over her loins and a large red mantle worn over one shoulder.  It was generally recognised by the 20th century that, somewhat contrary to a natural first impression, if the painting indeed represented figures along the lines of Sacred and Profane Love, the clothed figure was "sacred love", and the nude one "profane love". The nude figure sits comfortably on the ledge of the trough, with one hand resting on it and the other held high, holding a vessel with smoke coming out of it, probably an incense-burner.  In contrast the pose of the clothed figure, apparently poised and relaxed, becomes rather strange in the lower part of her body when considered carefully, "the lower half of the bride's body is lost in her drapery and does not conform with her upper half". The ledge seems too high for her to be sitting on it properly, and her knees are wide apart.  Perhaps she is actually sitting on something else beside the trough, or this may just be one of a number of lapses in depicting anatomy found in Titian's early career.The clothed woman leans over, but is probably not supported by, a metal bowl whose contents have been described in various ways, despite it not being possible to see them.  Another shallow metal bowl is on the ledge, nearer the nude figure; some have proposed a meaning for the decoration inside the bowl, such as the arms of Aurelio's bride, but this does not seem to be the case on close examination, after the picture was cleaned. It would be convenient if the arms were there, as an early objection to the marriage picture theory was that "allusion to a marriage would require two coats of arms, not one".The carved scenes on the front face of the trough/sarcophagus do not yet have a generally agreed reading. They were described by Edgar Wind as "A man is being scourged, a woman dragged by the hair, and an unbridled horse is led away by the mane", all perhaps images of the taming of the passions.  Alternatively they have been seen as : Adam and Eve standing beside the Tree of Knowledge, Cain killing Abel, and the Conversion of Saint Paul, shown falling off his horse. By 1914 they had been claimed to derive from scenes in five different literary works, ancient and modern, reflecting the 19th-century taste for finding literary sources for paintings.  They have been connected with the woodcut illustrations to Francesco Colonna's Hypnerotomachia Poliphili .The landscape on the left, behind the clothed woman, goes uphill to a what seems to be a walled castle or village dominated by a high defensive tower.  There are two rabbits nearby, usually symbols of fecundity or lust in the Renaissance.  The landscape behind the unclothed figure stretches downhill, with a village dominated by a church tower and steeple on the far side of water.  Two men on horses are hunting a hare or outsized rabbit with fast lurcher-type dogs, and a flock of sheep are apparently tended by a shepherd, with a pair of lovers sitting nearby.

Prompt: 聖愛と俗愛に焦点を当てて、その説明を説明してください。英語で出力して下さい。

Cupid
Edgar Wind
Hypnerotomachia Poliphili
Titian


section

聖愛と俗愛

Two women, who appear to be modelled on the same person, sit on a carved Ancient Roman sarcophagus that has been converted to a water-trough, or a trough made to look like a Roman sarcophagus; the broad ledges here are not found in actual sarcophagi.  How the water enters is unclear, but it leaves through a phallic-looking brass spout between the two women, next to an anachronistic coat of arms in the carving.  This belongs to Niccolò Aurelio, whose presence in the picture is probably also represented by the spout.Between the two women is a small winged boy, who may be Cupid, son and companion of Venus, or merely a putto.  He is looking intently into the water, and splashing a hand in it.  The woman on the left is fully and richly dressed; her clothes are now usually recognized as those of a bride, though in the past they have been said to be typical of courtesan wear.  In her hair she wears myrtle, both a flower sacred to Venus and one worn by brides.In contrast, the woman on the right is nude except for a white cloth over her loins and a large red mantle worn over one shoulder.  It was generally recognised by the 20th century that, somewhat contrary to a natural first impression, if the painting indeed represented figures along the lines of Sacred and Profane Love, the clothed figure was "sacred love", and the nude one "profane love". The nude figure sits comfortably on the ledge of the trough, with one hand resting on it and the other held high, holding a vessel with smoke coming out of it, probably an incense-burner.  In contrast the pose of the clothed figure, apparently poised and relaxed, becomes rather strange in the lower part of her body when considered carefully, "the lower half of the bride's body is lost in her drapery and does not conform with her upper half". The ledge seems too high for her to be sitting on it properly, and her knees are wide apart.  Perhaps she is actually sitting on something else beside the trough, or this may just be one of a number of lapses in depicting anatomy found in Titian's early career.The clothed woman leans over, but is probably not supported by, a metal bowl whose contents have been described in various ways, despite it not being possible to see them.  Another shallow metal bowl is on the ledge, nearer the nude figure; some have proposed a meaning for the decoration inside the bowl, such as the arms of Aurelio's bride, but this does not seem to be the case on close examination, after the picture was cleaned. It would be convenient if the arms were there, as an early objection to the marriage picture theory was that "allusion to a marriage would require two coats of arms, not one".The carved scenes on the front face of the trough/sarcophagus do not yet have a generally agreed reading. They were described by Edgar Wind as "A man is being scourged, a woman dragged by the hair, and an unbridled horse is led away by the mane", all perhaps images of the taming of the passions.  Alternatively they have been seen as : Adam and Eve standing beside the Tree of Knowledge, Cain killing Abel, and the Conversion of Saint Paul, shown falling off his horse. By 1914 they had been claimed to derive from scenes in five different literary works, ancient and modern, reflecting the 19th-century taste for finding literary sources for paintings.  They have been connected with the woodcut illustrations to Francesco Colonna's Hypnerotomachia Poliphili .The landscape on the left, behind the clothed woman, goes uphill to a what seems to be a walled castle or village dominated by a high defensive tower.  There are two rabbits nearby, usually symbols of fecundity or lust in the Renaissance.  The landscape behind the unclothed figure stretches downhill, with a village dominated by a church tower and steeple on the far side of water.  Two men on horses are hunting a hare or outsized rabbit with fast lurcher-type dogs, and a flock of sheep are apparently tended by a shepherd, with a pair of lovers sitting nearby.

Prompt: 聖愛と俗愛の説明を説明してください。英語で出力して下さい。

Cupid
Edgar Wind
Hypnerotomachia Poliphili
Titian


section

聖愛と俗愛

Two women, who appear to be modelled on the same person, sit on a carved Ancient Roman sarcophagus that has been converted to a water-trough, or a trough made to look like a Roman sarcophagus; the broad ledges here are not found in actual sarcophagi.  How the water enters is unclear, but it leaves through a phallic-looking brass spout between the two women, next to an anachronistic coat of arms in the carving.  This belongs to Niccolò Aurelio, whose presence in the picture is probably also represented by the spout.Between the two women is a small winged boy, who may be Cupid, son and companion of Venus, or merely a putto.  He is looking intently into the water, and splashing a hand in it.  The woman on the left is fully and richly dressed; her clothes are now usually recognized as those of a bride, though in the past they have been said to be typical of courtesan wear.  In her hair she wears myrtle, both a flower sacred to Venus and one worn by brides.In contrast, the woman on the right is nude except for a white cloth over her loins and a large red mantle worn over one shoulder.  It was generally recognised by the 20th century that, somewhat contrary to a natural first impression, if the painting indeed represented figures along the lines of Sacred and Profane Love, the clothed figure was "sacred love", and the nude one "profane love". The nude figure sits comfortably on the ledge of the trough, with one hand resting on it and the other held high, holding a vessel with smoke coming out of it, probably an incense-burner.  In contrast the pose of the clothed figure, apparently poised and relaxed, becomes rather strange in the lower part of her body when considered carefully, "the lower half of the bride's body is lost in her drapery and does not conform with her upper half". The ledge seems too high for her to be sitting on it properly, and her knees are wide apart.  Perhaps she is actually sitting on something else beside the trough, or this may just be one of a number of lapses in depicting anatomy found in Titian's early career.The clothed woman leans over, but is probably not supported by, a metal bowl whose contents have been described in various ways, despite it not being possible to see them.  Another shallow metal bowl is on the ledge, nearer the nude figure; some have proposed a meaning for the decoration inside the bowl, such as the arms of Aurelio's bride, but this does not seem to be the case on close examination, after the picture was cleaned. It would be convenient if the arms were there, as an early objection to the marriage picture theory was that "allusion to a marriage would require two coats of arms, not one".The carved scenes on the front face of the trough/sarcophagus do not yet have a generally agreed reading. They were described by Edgar Wind as "A man is being scourged, a woman dragged by the hair, and an unbridled horse is led away by the mane", all perhaps images of the taming of the passions.  Alternatively they have been seen as : Adam and Eve standing beside the Tree of Knowledge, Cain killing Abel, and the Conversion of Saint Paul, shown falling off his horse. By 1914 they had been claimed to derive from scenes in five different literary works, ancient and modern, reflecting the 19th-century taste for finding literary sources for paintings.  They have been connected with the woodcut illustrations to Francesco Colonna's Hypnerotomachia Poliphili .The landscape on the left, behind the clothed woman, goes uphill to a what seems to be a walled castle or village dominated by a high defensive tower.  There are two rabbits nearby, usually symbols of fecundity or lust in the Renaissance.  The landscape behind the unclothed figure stretches downhill, with a village dominated by a church tower and steeple on the far side of water.  Two men on horses are hunting a hare or outsized rabbit with fast lurcher-type dogs, and a flock of sheep are apparently tended by a shepherd, with a pair of lovers sitting nearby.

Prompt: 聖愛と俗愛はどのように説明を説明していますか？英語で出力して下さい。

Cupid
Edgar Wind
Hypnerotomachia Poliphili
Titian


section

聖愛と俗愛

Two women, who appear to be modelled on the same person, sit on a carved Ancient Roman sarcophagus that has been converted to a water-trough, or a trough made to look like a Roman sarcophagus; the broad ledges here are not found in actual sarcophagi.  How the water enters is unclear, but it leaves through a phallic-looking brass spout between the two women, next to an anachronistic coat of arms in the carving.  This belongs to Niccolò Aurelio, whose presence in the picture is probably also represented by the spout.Between the two women is a small winged boy, who may be Cupid, son and companion of Venus, or merely a putto.  He is looking intently into the water, and splashing a hand in it.  The woman on the left is fully and richly dressed; her clothes are now usually recognized as those of a bride, though in the past they have been said to be typical of courtesan wear.  In her hair she wears myrtle, both a flower sacred to Venus and one worn by brides.In contrast, the woman on the right is nude except for a white cloth over her loins and a large red mantle worn over one shoulder.  It was generally recognised by the 20th century that, somewhat contrary to a natural first impression, if the painting indeed represented figures along the lines of Sacred and Profane Love, the clothed figure was "sacred love", and the nude one "profane love". The nude figure sits comfortably on the ledge of the trough, with one hand resting on it and the other held high, holding a vessel with smoke coming out of it, probably an incense-burner.  In contrast the pose of the clothed figure, apparently poised and relaxed, becomes rather strange in the lower part of her body when considered carefully, "the lower half of the bride's body is lost in her drapery and does not conform with her upper half". The ledge seems too high for her to be sitting on it properly, and her knees are wide apart.  Perhaps she is actually sitting on something else beside the trough, or this may just be one of a number of lapses in depicting anatomy found in Titian's early career.The clothed woman leans over, but is probably not supported by, a metal bowl whose contents have been described in various ways, despite it not being possible to see them.  Another shallow metal bowl is on the ledge, nearer the nude figure; some have proposed a meaning for the decoration inside the bowl, such as the arms of Aurelio's bride, but this does not seem to be the case on close examination, after the picture was cleaned. It would be convenient if the arms were there, as an early objection to the marriage picture theory was that "allusion to a marriage would require two coats of arms, not one".The carved scenes on the front face of the trough/sarcophagus do not yet have a generally agreed reading. They were described by Edgar Wind as "A man is being scourged, a woman dragged by the hair, and an unbridled horse is led away by the mane", all perhaps images of the taming of the passions.  Alternatively they have been seen as : Adam and Eve standing beside the Tree of Knowledge, Cain killing Abel, and the Conversion of Saint Paul, shown falling off his horse. By 1914 they had been claimed to derive from scenes in five different literary works, ancient and modern, reflecting the 19th-century taste for finding literary sources for paintings.  They have been connected with the woodcut illustrations to Francesco Colonna's Hypnerotomachia Poliphili .The landscape on the left, behind the clothed woman, goes uphill to a what seems to be a walled castle or village dominated by a high defensive tower.  There are two rabbits nearby, usually symbols of fecundity or lust in the Renaissance.  The landscape behind the unclothed figure stretches downhill, with a village dominated by a church tower and steeple on the far side of water.  Two men on horses are hunting a hare or outsized rabbit with fast lurcher-type dogs, and a flock of sheep are apparently tended by a shepherd, with a pair of lovers sitting nearby.

Prompt: 聖愛と俗愛に関して、どのように説明が議論されていますか？英語で出力して下さい。

Cupid
Edgar Wind
Hypnerotomachia Poliphili
Titian


section

聖愛と俗愛

There have been a number of conflicting interpretations of the painting.  Their starting point is to identify the purpose of the painting, which most interpretations in recent decades see as commemorating a marriage.  Next the figures, who seem physically identical, but whose clothing is so different, need to be assigned identities, at which point agreement ends.  While the trend in recent years has been to downplay complicated and obscure explanations of the iconography of paintings by Titian , in this case no straightforward interpretation has been found, and scholars remain more ready to consider allegorical alternatives of some complexity, Titian would probably not have devised a complicated allegorical meaning himself; it has been suggested that the Renaissance humanist scholar Cardinal Pietro Bembo, or a similar figure, may have devised the allegorical scheme. But the identity of any scholar that could be implicated in furnishing a program to Titian remains pure speculation.Scholars have proposed several identifications of the figures, and analyses and interpretations which largely flow from these. The concept of Geminae Veneres or "Twin Venuses", a dual nature in Venus, was well developed in both classical thought and Renaissance Neoplatonism. In 1969 the scholar Erwin Panofsky suggested the two figures were representations of the 'Twin Venuses' with the clothed figure representing the 'earthly' Venus - , while the other was 'celestial' . This remains the most accepted and convincing interpretation to this day.  Others see the clothed figure as representing the bride , and only the nude figure representing Venus.Although the first record of a version of what is now the usual title is only in an inventory of 1693, it remains possible that the two female figures are indeed intended to be personifications of the Neoplatonic concepts of sacred and profane love. The art historian Walter Friedländer outlined similarities between the painting and Francesco Colonna's Hypnerotomachia Poliphili and proposed that the two figures represented Polia and Venere, the two female characters in the 1499 romance.

Prompt: 聖愛と俗愛に焦点を当てて、その意味を説明してください。英語で出力して下さい。

Erwin Panofsky
Hypnerotomachia Poliphili
Neoplatonism
Pietro Bembo
Titian
Walter Friedländer


section

聖愛と俗愛

There have been a number of conflicting interpretations of the painting.  Their starting point is to identify the purpose of the painting, which most interpretations in recent decades see as commemorating a marriage.  Next the figures, who seem physically identical, but whose clothing is so different, need to be assigned identities, at which point agreement ends.  While the trend in recent years has been to downplay complicated and obscure explanations of the iconography of paintings by Titian , in this case no straightforward interpretation has been found, and scholars remain more ready to consider allegorical alternatives of some complexity, Titian would probably not have devised a complicated allegorical meaning himself; it has been suggested that the Renaissance humanist scholar Cardinal Pietro Bembo, or a similar figure, may have devised the allegorical scheme. But the identity of any scholar that could be implicated in furnishing a program to Titian remains pure speculation.Scholars have proposed several identifications of the figures, and analyses and interpretations which largely flow from these. The concept of Geminae Veneres or "Twin Venuses", a dual nature in Venus, was well developed in both classical thought and Renaissance Neoplatonism. In 1969 the scholar Erwin Panofsky suggested the two figures were representations of the 'Twin Venuses' with the clothed figure representing the 'earthly' Venus - , while the other was 'celestial' . This remains the most accepted and convincing interpretation to this day.  Others see the clothed figure as representing the bride , and only the nude figure representing Venus.Although the first record of a version of what is now the usual title is only in an inventory of 1693, it remains possible that the two female figures are indeed intended to be personifications of the Neoplatonic concepts of sacred and profane love. The art historian Walter Friedländer outlined similarities between the painting and Francesco Colonna's Hypnerotomachia Poliphili and proposed that the two figures represented Polia and Venere, the two female characters in the 1499 romance.

Prompt: 聖愛と俗愛の意味を説明してください。英語で出力して下さい。

Erwin Panofsky
Hypnerotomachia Poliphili
Neoplatonism
Pietro Bembo
Titian
Walter Friedländer


section

聖愛と俗愛

There have been a number of conflicting interpretations of the painting.  Their starting point is to identify the purpose of the painting, which most interpretations in recent decades see as commemorating a marriage.  Next the figures, who seem physically identical, but whose clothing is so different, need to be assigned identities, at which point agreement ends.  While the trend in recent years has been to downplay complicated and obscure explanations of the iconography of paintings by Titian , in this case no straightforward interpretation has been found, and scholars remain more ready to consider allegorical alternatives of some complexity, Titian would probably not have devised a complicated allegorical meaning himself; it has been suggested that the Renaissance humanist scholar Cardinal Pietro Bembo, or a similar figure, may have devised the allegorical scheme. But the identity of any scholar that could be implicated in furnishing a program to Titian remains pure speculation.Scholars have proposed several identifications of the figures, and analyses and interpretations which largely flow from these. The concept of Geminae Veneres or "Twin Venuses", a dual nature in Venus, was well developed in both classical thought and Renaissance Neoplatonism. In 1969 the scholar Erwin Panofsky suggested the two figures were representations of the 'Twin Venuses' with the clothed figure representing the 'earthly' Venus - , while the other was 'celestial' . This remains the most accepted and convincing interpretation to this day.  Others see the clothed figure as representing the bride , and only the nude figure representing Venus.Although the first record of a version of what is now the usual title is only in an inventory of 1693, it remains possible that the two female figures are indeed intended to be personifications of the Neoplatonic concepts of sacred and profane love. The art historian Walter Friedländer outlined similarities between the painting and Francesco Colonna's Hypnerotomachia Poliphili and proposed that the two figures represented Polia and Venere, the two female characters in the 1499 romance.

Prompt: 聖愛と俗愛はどのように意味を説明していますか？英語で出力して下さい。

Erwin Panofsky
Hypnerotomachia Poliphili
Neoplatonism
Pietro Bembo
Titian
Walter Friedländer


section

聖愛と俗愛

There have been a number of conflicting interpretations of the painting.  Their starting point is to identify the purpose of the painting, which most interpretations in recent decades see as commemorating a marriage.  Next the figures, who seem physically identical, but whose clothing is so different, need to be assigned identities, at which point agreement ends.  While the trend in recent years has been to downplay complicated and obscure explanations of the iconography of paintings by Titian , in this case no straightforward interpretation has been found, and scholars remain more ready to consider allegorical alternatives of some complexity, Titian would probably not have devised a complicated allegorical meaning himself; it has been suggested that the Renaissance humanist scholar Cardinal Pietro Bembo, or a similar figure, may have devised the allegorical scheme. But the identity of any scholar that could be implicated in furnishing a program to Titian remains pure speculation.Scholars have proposed several identifications of the figures, and analyses and interpretations which largely flow from these. The concept of Geminae Veneres or "Twin Venuses", a dual nature in Venus, was well developed in both classical thought and Renaissance Neoplatonism. In 1969 the scholar Erwin Panofsky suggested the two figures were representations of the 'Twin Venuses' with the clothed figure representing the 'earthly' Venus - , while the other was 'celestial' . This remains the most accepted and convincing interpretation to this day.  Others see the clothed figure as representing the bride , and only the nude figure representing Venus.Although the first record of a version of what is now the usual title is only in an inventory of 1693, it remains possible that the two female figures are indeed intended to be personifications of the Neoplatonic concepts of sacred and profane love. The art historian Walter Friedländer outlined similarities between the painting and Francesco Colonna's Hypnerotomachia Poliphili and proposed that the two figures represented Polia and Venere, the two female characters in the 1499 romance.

Prompt: 聖愛と俗愛に関して、どのように意味が議論されていますか？英語で出力して下さい。

Erwin Panofsky
Hypnerotomachia Poliphili
Neoplatonism
Pietro Bembo
Titian
Walter Friedländer


section

聖愛と俗愛

The composition has elements also found in the works of Titian's former master or colleague Giorgione, an immensely influential Venetian painter who died very young in 1510, but the painting is generally agreed to show that Titian's own style had developed into a maturity that allows no confusion with his old rival.  While many works of the previous few years have been disputed between the two artists, there is no question of that here.  Titian shows "entire clarity and consistency of purpose, and certainty in the selection of artistic means.  After a decade of search in multiple and sometimes contradictory directions, Titian has settled for the basic proposition of classical style that had been expounded by Giorgione, but with precise self-knowledge of the differences of personality and vision — and, not least, of hand — with which could interpret it."A religious painting of the same period, that has many similarities in style is the Noli me tangere, probably also of 1514 , in which Titian uses much the same group of buildings as at the left here, but reversed and without the tower.  These develop from the group in the Dresden Venus.In Titian's Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter  Saint Peter is enthroned above a painting of a classical relief which can be compared to the one here in size, complexity, and its uncertain subject-matter.

Prompt: 聖愛と俗愛に焦点を当てて、そのスタイルを説明してください。英語で出力して下さい。


section

聖愛と俗愛

The composition has elements also found in the works of Titian's former master or colleague Giorgione, an immensely influential Venetian painter who died very young in 1510, but the painting is generally agreed to show that Titian's own style had developed into a maturity that allows no confusion with his old rival.  While many works of the previous few years have been disputed between the two artists, there is no question of that here.  Titian shows "entire clarity and consistency of purpose, and certainty in the selection of artistic means.  After a decade of search in multiple and sometimes contradictory directions, Titian has settled for the basic proposition of classical style that had been expounded by Giorgione, but with precise self-knowledge of the differences of personality and vision — and, not least, of hand — with which could interpret it."A religious painting of the same period, that has many similarities in style is the Noli me tangere, probably also of 1514 , in which Titian uses much the same group of buildings as at the left here, but reversed and without the tower.  These develop from the group in the Dresden Venus.In Titian's Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter  Saint Peter is enthroned above a painting of a classical relief which can be compared to the one here in size, complexity, and its uncertain subject-matter.

Prompt: 聖愛と俗愛のスタイルを説明してください。英語で出力して下さい。


section

聖愛と俗愛

The composition has elements also found in the works of Titian's former master or colleague Giorgione, an immensely influential Venetian painter who died very young in 1510, but the painting is generally agreed to show that Titian's own style had developed into a maturity that allows no confusion with his old rival.  While many works of the previous few years have been disputed between the two artists, there is no question of that here.  Titian shows "entire clarity and consistency of purpose, and certainty in the selection of artistic means.  After a decade of search in multiple and sometimes contradictory directions, Titian has settled for the basic proposition of classical style that had been expounded by Giorgione, but with precise self-knowledge of the differences of personality and vision — and, not least, of hand — with which could interpret it."A religious painting of the same period, that has many similarities in style is the Noli me tangere, probably also of 1514 , in which Titian uses much the same group of buildings as at the left here, but reversed and without the tower.  These develop from the group in the Dresden Venus.In Titian's Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter  Saint Peter is enthroned above a painting of a classical relief which can be compared to the one here in size, complexity, and its uncertain subject-matter.

Prompt: 聖愛と俗愛はどのようにスタイルを説明していますか？英語で出力して下さい。


section

聖愛と俗愛

The composition has elements also found in the works of Titian's former master or colleague Giorgione, an immensely influential Venetian painter who died very young in 1510, but the painting is generally agreed to show that Titian's own style had developed into a maturity that allows no confusion with his old rival.  While many works of the previous few years have been disputed between the two artists, there is no question of that here.  Titian shows "entire clarity and consistency of purpose, and certainty in the selection of artistic means.  After a decade of search in multiple and sometimes contradictory directions, Titian has settled for the basic proposition of classical style that had been expounded by Giorgione, but with precise self-knowledge of the differences of personality and vision — and, not least, of hand — with which could interpret it."A religious painting of the same period, that has many similarities in style is the Noli me tangere, probably also of 1514 , in which Titian uses much the same group of buildings as at the left here, but reversed and without the tower.  These develop from the group in the Dresden Venus.In Titian's Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter  Saint Peter is enthroned above a painting of a classical relief which can be compared to the one here in size, complexity, and its uncertain subject-matter.

Prompt: 聖愛と俗愛に関して、どのようにスタイルが議論されていますか？英語で出力して下さい。


section

聖愛と俗愛

The work was bought in 1608 by Cardinal Scipione Borghese, nephew of Pope Paul V and a major collector and patron of art. It is now kept with other works from the Borghese collection in the Galleria Borghese in Rome.

Prompt: 聖愛と俗愛に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Galleria Borghese
Pope Paul V
Rome
Scipione Borghese


section

聖愛と俗愛

The work was bought in 1608 by Cardinal Scipione Borghese, nephew of Pope Paul V and a major collector and patron of art. It is now kept with other works from the Borghese collection in the Galleria Borghese in Rome.

Prompt: 聖愛と俗愛の歴史を説明してください。英語で出力して下さい。

Galleria Borghese
Pope Paul V
Rome
Scipione Borghese


section

聖愛と俗愛

The work was bought in 1608 by Cardinal Scipione Borghese, nephew of Pope Paul V and a major collector and patron of art. It is now kept with other works from the Borghese collection in the Galleria Borghese in Rome.

Prompt: 聖愛と俗愛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。

Galleria Borghese
Pope Paul V
Rome
Scipione Borghese


section

聖愛と俗愛

The work was bought in 1608 by Cardinal Scipione Borghese, nephew of Pope Paul V and a major collector and patron of art. It is now kept with other works from the Borghese collection in the Galleria Borghese in Rome.

Prompt: 聖愛と俗愛に関して、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。

Galleria Borghese
Pope Paul V
Rome
Scipione Borghese


section

聖愛と俗愛

The painting was analyzed in 2000 by a variant of x-ray fluorescence spectroscopy which made it possible to identify the pigments used by Titian. The analysis identified lead white, azurite, lead-tin yellow, vermilion and yellow ochre.

Prompt: 聖愛と俗愛に焦点を当てて、その絵画材料を説明してください。英語で出力して下さい。


section

聖愛と俗愛

The painting was analyzed in 2000 by a variant of x-ray fluorescence spectroscopy which made it possible to identify the pigments used by Titian. The analysis identified lead white, azurite, lead-tin yellow, vermilion and yellow ochre.

Prompt: 聖愛と俗愛の絵画材料を説明してください。英語で出力して下さい。


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聖愛と俗愛

The painting was analyzed in 2000 by a variant of x-ray fluorescence spectroscopy which made it possible to identify the pigments used by Titian. The analysis identified lead white, azurite, lead-tin yellow, vermilion and yellow ochre.

Prompt: 聖愛と俗愛はどのように絵画材料を説明していますか？英語で出力して下さい。


section

聖愛と俗愛

The painting was analyzed in 2000 by a variant of x-ray fluorescence spectroscopy which made it possible to identify the pigments used by Titian. The analysis identified lead white, azurite, lead-tin yellow, vermilion and yellow ochre.

Prompt: 聖愛と俗愛に関して、どのように絵画材料が議論されていますか？英語で出力して下さい。


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聖愛と俗愛

Prompt: 聖愛と俗愛に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

聖愛と俗愛

Prompt: 聖愛と俗愛の参照を説明してください。英語で出力して下さい。


section

聖愛と俗愛

Prompt: 聖愛と俗愛はどのように参照を説明していますか？英語で出力して下さい。


section

聖愛と俗愛

Prompt: 聖愛と俗愛に関して、どのように参照が議論されていますか？英語で出力して下さい。


section

聖愛と俗愛

Freedberg, Sydney J. Painting in Italy, 1500–1600, 3rd edn. 1993, Yale,

Prompt: 聖愛と俗愛に焦点を当てて、その参考文献を説明してください。英語で出力して下さい。


section

聖愛と俗愛

Freedberg, Sydney J. Painting in Italy, 1500–1600, 3rd edn. 1993, Yale,

Prompt: 聖愛と俗愛の参考文献を説明してください。英語で出力して下さい。


section

聖愛と俗愛

Freedberg, Sydney J. Painting in Italy, 1500–1600, 3rd edn. 1993, Yale,

Prompt: 聖愛と俗愛はどのように参考文献を説明していますか？英語で出力して下さい。


section

聖愛と俗愛

Freedberg, Sydney J. Painting in Italy, 1500–1600, 3rd edn. 1993, Yale,

Prompt: 聖愛と俗愛に関して、どのように参考文献が議論されていますか？英語で出力して下さい。


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アルバの聖母

metric_unit=cm imperial_unit=in city=Washington, D.C. museum=National Gallery of Art}}The Alba Madonna is a tondo  oil on wood transferred to canvas painting by the Italian High Renaissance artist Raphael, created c. 1511, depicting Mary, Jesus, and John the BaptistAfter a century and a half in Italy, it was in the collection of the Dukes of Alba in Spain until 1836, when it was sold to Nicholas I of Russia, and it became one of the highlights of the Imperial Hermitage Museum in Saint Petersburg. Clandestinely sold to Andrew W. Mellon by the government of the Soviet Union in 1931, it has been held by the National Gallery of Art in Washington, D.C., since 1937.

Prompt: アルバ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。

Hermitage Museum
High Renaissance
Jesus
John the Baptist
National Gallery of Art
Nicholas I of Russia
Raphael
Saint Petersburg
Soviet Union
Washington, D.C.


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アルバの聖母

metric_unit=cm imperial_unit=in city=Washington, D.C. museum=National Gallery of Art}}The Alba Madonna is a tondo  oil on wood transferred to canvas painting by the Italian High Renaissance artist Raphael, created c. 1511, depicting Mary, Jesus, and John the BaptistAfter a century and a half in Italy, it was in the collection of the Dukes of Alba in Spain until 1836, when it was sold to Nicholas I of Russia, and it became one of the highlights of the Imperial Hermitage Museum in Saint Petersburg. Clandestinely sold to Andrew W. Mellon by the government of the Soviet Union in 1931, it has been held by the National Gallery of Art in Washington, D.C., since 1937.

Prompt: アルバ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。

Hermitage Museum
High Renaissance
Jesus
John the Baptist
National Gallery of Art
Nicholas I of Russia
Raphael
Saint Petersburg
Soviet Union
Washington, D.C.


section

アルバの聖母

metric_unit=cm imperial_unit=in city=Washington, D.C. museum=National Gallery of Art}}The Alba Madonna is a tondo  oil on wood transferred to canvas painting by the Italian High Renaissance artist Raphael, created c. 1511, depicting Mary, Jesus, and John the BaptistAfter a century and a half in Italy, it was in the collection of the Dukes of Alba in Spain until 1836, when it was sold to Nicholas I of Russia, and it became one of the highlights of the Imperial Hermitage Museum in Saint Petersburg. Clandestinely sold to Andrew W. Mellon by the government of the Soviet Union in 1931, it has been held by the National Gallery of Art in Washington, D.C., since 1937.

Prompt: アルバ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。

Hermitage Museum
High Renaissance
Jesus
John the Baptist
National Gallery of Art
Nicholas I of Russia
Raphael
Saint Petersburg
Soviet Union
Washington, D.C.


section

アルバの聖母

metric_unit=cm imperial_unit=in city=Washington, D.C. museum=National Gallery of Art}}The Alba Madonna is a tondo  oil on wood transferred to canvas painting by the Italian High Renaissance artist Raphael, created c. 1511, depicting Mary, Jesus, and John the BaptistAfter a century and a half in Italy, it was in the collection of the Dukes of Alba in Spain until 1836, when it was sold to Nicholas I of Russia, and it became one of the highlights of the Imperial Hermitage Museum in Saint Petersburg. Clandestinely sold to Andrew W. Mellon by the government of the Soviet Union in 1931, it has been held by the National Gallery of Art in Washington, D.C., since 1937.

Prompt: アルバの聖母に関して、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。

Hermitage Museum
High Renaissance
Jesus
John the Baptist
National Gallery of Art
Nicholas I of Russia
Raphael
Saint Petersburg
Soviet Union
Washington, D.C.


section

アルバの聖母

John the Baptist is holding up a cross to Jesus, which the baby Jesus is grasping. All three figures are contemplating the cross, which is being accepted by Jesus as a token of the Crucifixion. The three figures are grouped to the left in the round design, but the image is balanced by the outstretched left arm of the Madonna holding a book, and the billowing material of her cloak, with the figures arranged in a pyramidal composition. Arranged about the figures are symbolic flowers: lady's bedstraw for childbirth, cyclamen for love and sorrow, violets for humility, dandelions and red-centred anemones for the Passion of Jesus.The tondo painting, on a round wood panel with diameter , was commissioned by Paolo Giovio, after Raphael had left Florence in 1508 to live in Rome.  The painting show development from his earlier work, perhaps inspired by the Sistine Chapel ceiling then being painted by Michelangelo.Art historian Andrew Graham-Dixon has described the painting as "a breathtakingly beautiful work of art", linking her position on the ground to the iconography of the Madonna of Humility, but "her statuesque grandeur calls to mind earlier Renaissance images of the Madonna della Misericordia – images of the Virgin as Queen of Heaven and protectress of all humanity."

Prompt: アルバの聖母に焦点を当てて、その説明を説明してください。英語で出力して下さい。

Andrew Graham-Dixon
Jesus
John the Baptist
Michelangelo
Paolo Giovio
Passion of Jesus
Raphael
Sistine Chapel ceiling


section

アルバの聖母

John the Baptist is holding up a cross to Jesus, which the baby Jesus is grasping. All three figures are contemplating the cross, which is being accepted by Jesus as a token of the Crucifixion. The three figures are grouped to the left in the round design, but the image is balanced by the outstretched left arm of the Madonna holding a book, and the billowing material of her cloak, with the figures arranged in a pyramidal composition. Arranged about the figures are symbolic flowers: lady's bedstraw for childbirth, cyclamen for love and sorrow, violets for humility, dandelions and red-centred anemones for the Passion of Jesus.The tondo painting, on a round wood panel with diameter , was commissioned by Paolo Giovio, after Raphael had left Florence in 1508 to live in Rome.  The painting show development from his earlier work, perhaps inspired by the Sistine Chapel ceiling then being painted by Michelangelo.Art historian Andrew Graham-Dixon has described the painting as "a breathtakingly beautiful work of art", linking her position on the ground to the iconography of the Madonna of Humility, but "her statuesque grandeur calls to mind earlier Renaissance images of the Madonna della Misericordia – images of the Virgin as Queen of Heaven and protectress of all humanity."

Prompt: アルバの聖母の説明を説明してください。英語で出力して下さい。

Andrew Graham-Dixon
Jesus
John the Baptist
Michelangelo
Paolo Giovio
Passion of Jesus
Raphael
Sistine Chapel ceiling


section

アルバの聖母

John the Baptist is holding up a cross to Jesus, which the baby Jesus is grasping. All three figures are contemplating the cross, which is being accepted by Jesus as a token of the Crucifixion. The three figures are grouped to the left in the round design, but the image is balanced by the outstretched left arm of the Madonna holding a book, and the billowing material of her cloak, with the figures arranged in a pyramidal composition. Arranged about the figures are symbolic flowers: lady's bedstraw for childbirth, cyclamen for love and sorrow, violets for humility, dandelions and red-centred anemones for the Passion of Jesus.The tondo painting, on a round wood panel with diameter , was commissioned by Paolo Giovio, after Raphael had left Florence in 1508 to live in Rome.  The painting show development from his earlier work, perhaps inspired by the Sistine Chapel ceiling then being painted by Michelangelo.Art historian Andrew Graham-Dixon has described the painting as "a breathtakingly beautiful work of art", linking her position on the ground to the iconography of the Madonna of Humility, but "her statuesque grandeur calls to mind earlier Renaissance images of the Madonna della Misericordia – images of the Virgin as Queen of Heaven and protectress of all humanity."

Prompt: アルバの聖母はどのように説明を説明していますか？英語で出力して下さい。

Andrew Graham-Dixon
Jesus
John the Baptist
Michelangelo
Paolo Giovio
Passion of Jesus
Raphael
Sistine Chapel ceiling


section

アルバの聖母

John the Baptist is holding up a cross to Jesus, which the baby Jesus is grasping. All three figures are contemplating the cross, which is being accepted by Jesus as a token of the Crucifixion. The three figures are grouped to the left in the round design, but the image is balanced by the outstretched left arm of the Madonna holding a book, and the billowing material of her cloak, with the figures arranged in a pyramidal composition. Arranged about the figures are symbolic flowers: lady's bedstraw for childbirth, cyclamen for love and sorrow, violets for humility, dandelions and red-centred anemones for the Passion of Jesus.The tondo painting, on a round wood panel with diameter , was commissioned by Paolo Giovio, after Raphael had left Florence in 1508 to live in Rome.  The painting show development from his earlier work, perhaps inspired by the Sistine Chapel ceiling then being painted by Michelangelo.Art historian Andrew Graham-Dixon has described the painting as "a breathtakingly beautiful work of art", linking her position on the ground to the iconography of the Madonna of Humility, but "her statuesque grandeur calls to mind earlier Renaissance images of the Madonna della Misericordia – images of the Virgin as Queen of Heaven and protectress of all humanity."

Prompt: アルバの聖母に関して、どのように説明が議論されていますか？英語で出力して下さい。

Andrew Graham-Dixon
Jesus
John the Baptist
Michelangelo
Paolo Giovio
Passion of Jesus
Raphael
Sistine Chapel ceiling