section

クラウド・ゲート

List of public art in Chicago Cloud Column, 2006 sculpture by the same artist

Prompt: クラウド・ゲートに関して、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。

Chicago
Cloud Column
List of public art in Chicago


subsection

クラウド・ゲート

Anish Kapoor has a reputation for creating spectacles in urban settings by producing works of extreme size and scale. Before creating Cloud Gate, Kapoor had created art that distorted images of the viewer instead of portraying images of its own. In doing so, he acquired experience blurring the boundary between the limit and the limitless. Kapoor drew on past experience to design Cloud Gate, in particular the designing of Sky Mirror , a   concave stainless steel mirror that also used a theme of distorted perception on a grand scale.

Prompt: クラウド・ゲートの文脈で、関連するカポールテーマと受付を説明してください。英語で出力して下さい。

Anish Kapoor
Cloud Gate
Sky Mirror
Cloud Gate


subsection

クラウド・ゲート

Anish Kapoor has a reputation for creating spectacles in urban settings by producing works of extreme size and scale. Before creating Cloud Gate, Kapoor had created art that distorted images of the viewer instead of portraying images of its own. In doing so, he acquired experience blurring the boundary between the limit and the limitless. Kapoor drew on past experience to design Cloud Gate, in particular the designing of Sky Mirror , a   concave stainless steel mirror that also used a theme of distorted perception on a grand scale.

Prompt: クラウド・ゲートの受付に関する関連するカポールテーマを説明してください。英語で出力して下さい。

Anish Kapoor
Cloud Gate
Sky Mirror
Cloud Gate


subsection

クラウド・ゲート

Anish Kapoor has a reputation for creating spectacles in urban settings by producing works of extreme size and scale. Before creating Cloud Gate, Kapoor had created art that distorted images of the viewer instead of portraying images of its own. In doing so, he acquired experience blurring the boundary between the limit and the limitless. Kapoor drew on past experience to design Cloud Gate, in particular the designing of Sky Mirror , a   concave stainless steel mirror that also used a theme of distorted perception on a grand scale.

Prompt: クラウド・ゲートでは、どのように受付の関連するカポールテーマが説明されていますか？英語で出力して下さい。

Anish Kapoor
Cloud Gate
Sky Mirror
Cloud Gate


subsection

クラウド・ゲート

Anish Kapoor has a reputation for creating spectacles in urban settings by producing works of extreme size and scale. Before creating Cloud Gate, Kapoor had created art that distorted images of the viewer instead of portraying images of its own. In doing so, he acquired experience blurring the boundary between the limit and the limitless. Kapoor drew on past experience to design Cloud Gate, in particular the designing of Sky Mirror , a   concave stainless steel mirror that also used a theme of distorted perception on a grand scale.

Prompt: クラウド・ゲートの受付における関連するカポールテーマの特徴を説明してください。英語で出力して下さい。

Anish Kapoor
Cloud Gate
Sky Mirror
Cloud Gate


subsection

クラウド・ゲート

Kapoor often speaks of removing both the signature of the artist from his works as well as any traces of their fabrication, or what he refers to as "traces of the hand". It is similar to many of Kapoor's previous works in the themes and issues it addresses. While the sculpture's mirror effects are reminiscent of fun-house fairground mirrors, they also have a more serious intent; they help dematerialize this very large object, making it seem light and almost weightless. Cloud Gate is considered Kapoor's most ambitious use of complex mirrored form dynamics. Kapoor challenges his viewers to internalize his work through intellectual and theoretical exercise. By reflecting the sky, visiting and non-visiting pedestrians and surrounding architecture, Cloud Gate limits its viewers to partial comprehension at any time. The interaction with the viewer who moves to create his own vision gives it a spiritual dimension. The sculpture is described as a disembodied, luminous form,The viewer physically enters the art when he walks underneath it into its "navel". The omphalos is a "warped dimension of fluid space". In this dimension, solid is transformed into fluid in a disorienting multiplicative manner that intensifies the experience. It is emblematic of Kapoor's work to deconstruct empirical space and venture into manifold possibilities of abstract space.According to project manager Lou Cerny of MTH Industries, "When the light is right, you can't see where the sculpture ends and the sky begins." The sculpture challenges perception by distorting and deforming the surrounding architecture. The skyscrapers along East Randolph Street to the northeast , north  and northwest  are reflected on Cloud Gates surface when viewed from either the east or the west. The sculpture also warps viewers' perception of time by changing the speed of movements such as the passing of clouds.Although in the conventional sense Cloud Gate is not an opening that leads anywhere in the same way that monumental gates do, it frames a view and is celebratory in the way it creates a ceremonial place.  The work is credited with achieving a new level or understanding described as a transubstantiation of material, reminiscent of that which the artist experienced during a 1979 trip to India. Kapoor's 1000 Names evolved immediately after this trip; twenty-five years later he created Cloud Gate, an object that emerged from material forms to become immaterial.Kapoor often relies on tenets of Hinduism in his art and says that "The experience of opposites allows for the expression of wholeness." Primal dualities that are one, such as the lingam and yoni, are important to Indian culture, and Cloud Gate represents both the male and female in one entity by symbolizing both the vagina and testicles. Thus, it represents the tension between the masculine and the feminine.

Prompt: クラウド・ゲートの文脈で、クラウドゲートテーマと受付を説明してください。英語で出力して下さい。

Cloud Gate
Hinduism
India
Randolph Street
Cloud Gate


subsection

クラウド・ゲート

Kapoor often speaks of removing both the signature of the artist from his works as well as any traces of their fabrication, or what he refers to as "traces of the hand". It is similar to many of Kapoor's previous works in the themes and issues it addresses. While the sculpture's mirror effects are reminiscent of fun-house fairground mirrors, they also have a more serious intent; they help dematerialize this very large object, making it seem light and almost weightless. Cloud Gate is considered Kapoor's most ambitious use of complex mirrored form dynamics. Kapoor challenges his viewers to internalize his work through intellectual and theoretical exercise. By reflecting the sky, visiting and non-visiting pedestrians and surrounding architecture, Cloud Gate limits its viewers to partial comprehension at any time. The interaction with the viewer who moves to create his own vision gives it a spiritual dimension. The sculpture is described as a disembodied, luminous form,The viewer physically enters the art when he walks underneath it into its "navel". The omphalos is a "warped dimension of fluid space". In this dimension, solid is transformed into fluid in a disorienting multiplicative manner that intensifies the experience. It is emblematic of Kapoor's work to deconstruct empirical space and venture into manifold possibilities of abstract space.According to project manager Lou Cerny of MTH Industries, "When the light is right, you can't see where the sculpture ends and the sky begins." The sculpture challenges perception by distorting and deforming the surrounding architecture. The skyscrapers along East Randolph Street to the northeast , north  and northwest  are reflected on Cloud Gates surface when viewed from either the east or the west. The sculpture also warps viewers' perception of time by changing the speed of movements such as the passing of clouds.Although in the conventional sense Cloud Gate is not an opening that leads anywhere in the same way that monumental gates do, it frames a view and is celebratory in the way it creates a ceremonial place.  The work is credited with achieving a new level or understanding described as a transubstantiation of material, reminiscent of that which the artist experienced during a 1979 trip to India. Kapoor's 1000 Names evolved immediately after this trip; twenty-five years later he created Cloud Gate, an object that emerged from material forms to become immaterial.Kapoor often relies on tenets of Hinduism in his art and says that "The experience of opposites allows for the expression of wholeness." Primal dualities that are one, such as the lingam and yoni, are important to Indian culture, and Cloud Gate represents both the male and female in one entity by symbolizing both the vagina and testicles. Thus, it represents the tension between the masculine and the feminine.

Prompt: クラウド・ゲートの受付に関するクラウドゲートテーマを説明してください。英語で出力して下さい。

Cloud Gate
Hinduism
India
Randolph Street
Cloud Gate


subsection

クラウド・ゲート

Kapoor often speaks of removing both the signature of the artist from his works as well as any traces of their fabrication, or what he refers to as "traces of the hand". It is similar to many of Kapoor's previous works in the themes and issues it addresses. While the sculpture's mirror effects are reminiscent of fun-house fairground mirrors, they also have a more serious intent; they help dematerialize this very large object, making it seem light and almost weightless. Cloud Gate is considered Kapoor's most ambitious use of complex mirrored form dynamics. Kapoor challenges his viewers to internalize his work through intellectual and theoretical exercise. By reflecting the sky, visiting and non-visiting pedestrians and surrounding architecture, Cloud Gate limits its viewers to partial comprehension at any time. The interaction with the viewer who moves to create his own vision gives it a spiritual dimension. The sculpture is described as a disembodied, luminous form,The viewer physically enters the art when he walks underneath it into its "navel". The omphalos is a "warped dimension of fluid space". In this dimension, solid is transformed into fluid in a disorienting multiplicative manner that intensifies the experience. It is emblematic of Kapoor's work to deconstruct empirical space and venture into manifold possibilities of abstract space.According to project manager Lou Cerny of MTH Industries, "When the light is right, you can't see where the sculpture ends and the sky begins." The sculpture challenges perception by distorting and deforming the surrounding architecture. The skyscrapers along East Randolph Street to the northeast , north  and northwest  are reflected on Cloud Gates surface when viewed from either the east or the west. The sculpture also warps viewers' perception of time by changing the speed of movements such as the passing of clouds.Although in the conventional sense Cloud Gate is not an opening that leads anywhere in the same way that monumental gates do, it frames a view and is celebratory in the way it creates a ceremonial place.  The work is credited with achieving a new level or understanding described as a transubstantiation of material, reminiscent of that which the artist experienced during a 1979 trip to India. Kapoor's 1000 Names evolved immediately after this trip; twenty-five years later he created Cloud Gate, an object that emerged from material forms to become immaterial.Kapoor often relies on tenets of Hinduism in his art and says that "The experience of opposites allows for the expression of wholeness." Primal dualities that are one, such as the lingam and yoni, are important to Indian culture, and Cloud Gate represents both the male and female in one entity by symbolizing both the vagina and testicles. Thus, it represents the tension between the masculine and the feminine.

Prompt: クラウド・ゲートでは、どのように受付のクラウドゲートテーマが説明されていますか？英語で出力して下さい。

Cloud Gate
Hinduism
India
Randolph Street
Cloud Gate


subsection

クラウド・ゲート

Kapoor often speaks of removing both the signature of the artist from his works as well as any traces of their fabrication, or what he refers to as "traces of the hand". It is similar to many of Kapoor's previous works in the themes and issues it addresses. While the sculpture's mirror effects are reminiscent of fun-house fairground mirrors, they also have a more serious intent; they help dematerialize this very large object, making it seem light and almost weightless. Cloud Gate is considered Kapoor's most ambitious use of complex mirrored form dynamics. Kapoor challenges his viewers to internalize his work through intellectual and theoretical exercise. By reflecting the sky, visiting and non-visiting pedestrians and surrounding architecture, Cloud Gate limits its viewers to partial comprehension at any time. The interaction with the viewer who moves to create his own vision gives it a spiritual dimension. The sculpture is described as a disembodied, luminous form,The viewer physically enters the art when he walks underneath it into its "navel". The omphalos is a "warped dimension of fluid space". In this dimension, solid is transformed into fluid in a disorienting multiplicative manner that intensifies the experience. It is emblematic of Kapoor's work to deconstruct empirical space and venture into manifold possibilities of abstract space.According to project manager Lou Cerny of MTH Industries, "When the light is right, you can't see where the sculpture ends and the sky begins." The sculpture challenges perception by distorting and deforming the surrounding architecture. The skyscrapers along East Randolph Street to the northeast , north  and northwest  are reflected on Cloud Gates surface when viewed from either the east or the west. The sculpture also warps viewers' perception of time by changing the speed of movements such as the passing of clouds.Although in the conventional sense Cloud Gate is not an opening that leads anywhere in the same way that monumental gates do, it frames a view and is celebratory in the way it creates a ceremonial place.  The work is credited with achieving a new level or understanding described as a transubstantiation of material, reminiscent of that which the artist experienced during a 1979 trip to India. Kapoor's 1000 Names evolved immediately after this trip; twenty-five years later he created Cloud Gate, an object that emerged from material forms to become immaterial.Kapoor often relies on tenets of Hinduism in his art and says that "The experience of opposites allows for the expression of wholeness." Primal dualities that are one, such as the lingam and yoni, are important to Indian culture, and Cloud Gate represents both the male and female in one entity by symbolizing both the vagina and testicles. Thus, it represents the tension between the masculine and the feminine.

Prompt: クラウド・ゲートの受付におけるクラウドゲートテーマの特徴を説明してください。英語で出力して下さい。

Cloud Gate
Hinduism
India
Randolph Street
Cloud Gate


subsection

クラウド・ゲート

A June 2017 video by the National Rifle Association  entitled The Clenched Fist of Truth used an image of Cloud Gate. Anish Kapoor sued the NRA to stop running the video, pay any profits gained as a result of the video, compensate him for statutory damages equivalent to $150,000 per infringement, and attorney fees. The suit was settled in December 2018 with the removal of the image from the NRA video.

Prompt: クラウド・ゲートの文脈で、訴訟 全米ライフル協会と受付を説明してください。英語で出力して下さい。

Anish Kapoor
Cloud Gate
Cloud Gate
The Clenched Fist of Truth


subsection

クラウド・ゲート

A June 2017 video by the National Rifle Association  entitled The Clenched Fist of Truth used an image of Cloud Gate. Anish Kapoor sued the NRA to stop running the video, pay any profits gained as a result of the video, compensate him for statutory damages equivalent to $150,000 per infringement, and attorney fees. The suit was settled in December 2018 with the removal of the image from the NRA video.

Prompt: クラウド・ゲートの受付に関する訴訟 全米ライフル協会を説明してください。英語で出力して下さい。

Anish Kapoor
Cloud Gate
Cloud Gate
The Clenched Fist of Truth


subsection

クラウド・ゲート

A June 2017 video by the National Rifle Association  entitled The Clenched Fist of Truth used an image of Cloud Gate. Anish Kapoor sued the NRA to stop running the video, pay any profits gained as a result of the video, compensate him for statutory damages equivalent to $150,000 per infringement, and attorney fees. The suit was settled in December 2018 with the removal of the image from the NRA video.

Prompt: クラウド・ゲートでは、どのように受付の訴訟 全米ライフル協会が説明されていますか？英語で出力して下さい。

Anish Kapoor
Cloud Gate
Cloud Gate
The Clenched Fist of Truth


subsection

クラウド・ゲート

A June 2017 video by the National Rifle Association  entitled The Clenched Fist of Truth used an image of Cloud Gate. Anish Kapoor sued the NRA to stop running the video, pay any profits gained as a result of the video, compensate him for statutory damages equivalent to $150,000 per infringement, and attorney fees. The suit was settled in December 2018 with the removal of the image from the NRA video.

Prompt: クラウド・ゲートの受付における訴訟 全米ライフル協会の特徴を説明してください。英語で出力して下さい。

Anish Kapoor
Cloud Gate
Cloud Gate
The Clenched Fist of Truth


subsection

クラウド・ゲート

Anish Kapoor has a reputation for creating spectacles in urban settings by producing works of extreme size and scale. Before creating Cloud Gate, Kapoor had created art that distorted images of the viewer instead of portraying images of its own. In doing so, he acquired experience blurring the boundary between the limit and the limitless. Kapoor drew on past experience to design Cloud Gate, in particular the designing of Sky Mirror , a   concave stainless steel mirror that also used a theme of distorted perception on a grand scale.

Prompt: クラウド・ゲートの文脈で、関連するカポールテーマと大衆文化でを説明してください。英語で出力して下さい。

Anish Kapoor
Cloud Gate
Sky Mirror
Cloud Gate


subsection

クラウド・ゲート

Anish Kapoor has a reputation for creating spectacles in urban settings by producing works of extreme size and scale. Before creating Cloud Gate, Kapoor had created art that distorted images of the viewer instead of portraying images of its own. In doing so, he acquired experience blurring the boundary between the limit and the limitless. Kapoor drew on past experience to design Cloud Gate, in particular the designing of Sky Mirror , a   concave stainless steel mirror that also used a theme of distorted perception on a grand scale.

Prompt: クラウド・ゲートの大衆文化でに関する関連するカポールテーマを説明してください。英語で出力して下さい。

Anish Kapoor
Cloud Gate
Sky Mirror
Cloud Gate


subsection

クラウド・ゲート

Anish Kapoor has a reputation for creating spectacles in urban settings by producing works of extreme size and scale. Before creating Cloud Gate, Kapoor had created art that distorted images of the viewer instead of portraying images of its own. In doing so, he acquired experience blurring the boundary between the limit and the limitless. Kapoor drew on past experience to design Cloud Gate, in particular the designing of Sky Mirror , a   concave stainless steel mirror that also used a theme of distorted perception on a grand scale.

Prompt: クラウド・ゲートでは、どのように大衆文化での関連するカポールテーマが説明されていますか？英語で出力して下さい。

Anish Kapoor
Cloud Gate
Sky Mirror
Cloud Gate


subsection

クラウド・ゲート

Anish Kapoor has a reputation for creating spectacles in urban settings by producing works of extreme size and scale. Before creating Cloud Gate, Kapoor had created art that distorted images of the viewer instead of portraying images of its own. In doing so, he acquired experience blurring the boundary between the limit and the limitless. Kapoor drew on past experience to design Cloud Gate, in particular the designing of Sky Mirror , a   concave stainless steel mirror that also used a theme of distorted perception on a grand scale.

Prompt: クラウド・ゲートの大衆文化でにおける関連するカポールテーマの特徴を説明してください。英語で出力して下さい。

Anish Kapoor
Cloud Gate
Sky Mirror
Cloud Gate


subsection

クラウド・ゲート

Kapoor often speaks of removing both the signature of the artist from his works as well as any traces of their fabrication, or what he refers to as "traces of the hand". It is similar to many of Kapoor's previous works in the themes and issues it addresses. While the sculpture's mirror effects are reminiscent of fun-house fairground mirrors, they also have a more serious intent; they help dematerialize this very large object, making it seem light and almost weightless. Cloud Gate is considered Kapoor's most ambitious use of complex mirrored form dynamics. Kapoor challenges his viewers to internalize his work through intellectual and theoretical exercise. By reflecting the sky, visiting and non-visiting pedestrians and surrounding architecture, Cloud Gate limits its viewers to partial comprehension at any time. The interaction with the viewer who moves to create his own vision gives it a spiritual dimension. The sculpture is described as a disembodied, luminous form,The viewer physically enters the art when he walks underneath it into its "navel". The omphalos is a "warped dimension of fluid space". In this dimension, solid is transformed into fluid in a disorienting multiplicative manner that intensifies the experience. It is emblematic of Kapoor's work to deconstruct empirical space and venture into manifold possibilities of abstract space.According to project manager Lou Cerny of MTH Industries, "When the light is right, you can't see where the sculpture ends and the sky begins." The sculpture challenges perception by distorting and deforming the surrounding architecture. The skyscrapers along East Randolph Street to the northeast , north  and northwest  are reflected on Cloud Gates surface when viewed from either the east or the west. The sculpture also warps viewers' perception of time by changing the speed of movements such as the passing of clouds.Although in the conventional sense Cloud Gate is not an opening that leads anywhere in the same way that monumental gates do, it frames a view and is celebratory in the way it creates a ceremonial place.  The work is credited with achieving a new level or understanding described as a transubstantiation of material, reminiscent of that which the artist experienced during a 1979 trip to India. Kapoor's 1000 Names evolved immediately after this trip; twenty-five years later he created Cloud Gate, an object that emerged from material forms to become immaterial.Kapoor often relies on tenets of Hinduism in his art and says that "The experience of opposites allows for the expression of wholeness." Primal dualities that are one, such as the lingam and yoni, are important to Indian culture, and Cloud Gate represents both the male and female in one entity by symbolizing both the vagina and testicles. Thus, it represents the tension between the masculine and the feminine.

Prompt: クラウド・ゲートの文脈で、クラウドゲートテーマと大衆文化でを説明してください。英語で出力して下さい。

Cloud Gate
Hinduism
India
Randolph Street
Cloud Gate


subsection

クラウド・ゲート

Kapoor often speaks of removing both the signature of the artist from his works as well as any traces of their fabrication, or what he refers to as "traces of the hand". It is similar to many of Kapoor's previous works in the themes and issues it addresses. While the sculpture's mirror effects are reminiscent of fun-house fairground mirrors, they also have a more serious intent; they help dematerialize this very large object, making it seem light and almost weightless. Cloud Gate is considered Kapoor's most ambitious use of complex mirrored form dynamics. Kapoor challenges his viewers to internalize his work through intellectual and theoretical exercise. By reflecting the sky, visiting and non-visiting pedestrians and surrounding architecture, Cloud Gate limits its viewers to partial comprehension at any time. The interaction with the viewer who moves to create his own vision gives it a spiritual dimension. The sculpture is described as a disembodied, luminous form,The viewer physically enters the art when he walks underneath it into its "navel". The omphalos is a "warped dimension of fluid space". In this dimension, solid is transformed into fluid in a disorienting multiplicative manner that intensifies the experience. It is emblematic of Kapoor's work to deconstruct empirical space and venture into manifold possibilities of abstract space.According to project manager Lou Cerny of MTH Industries, "When the light is right, you can't see where the sculpture ends and the sky begins." The sculpture challenges perception by distorting and deforming the surrounding architecture. The skyscrapers along East Randolph Street to the northeast , north  and northwest  are reflected on Cloud Gates surface when viewed from either the east or the west. The sculpture also warps viewers' perception of time by changing the speed of movements such as the passing of clouds.Although in the conventional sense Cloud Gate is not an opening that leads anywhere in the same way that monumental gates do, it frames a view and is celebratory in the way it creates a ceremonial place.  The work is credited with achieving a new level or understanding described as a transubstantiation of material, reminiscent of that which the artist experienced during a 1979 trip to India. Kapoor's 1000 Names evolved immediately after this trip; twenty-five years later he created Cloud Gate, an object that emerged from material forms to become immaterial.Kapoor often relies on tenets of Hinduism in his art and says that "The experience of opposites allows for the expression of wholeness." Primal dualities that are one, such as the lingam and yoni, are important to Indian culture, and Cloud Gate represents both the male and female in one entity by symbolizing both the vagina and testicles. Thus, it represents the tension between the masculine and the feminine.

Prompt: クラウド・ゲートの大衆文化でに関するクラウドゲートテーマを説明してください。英語で出力して下さい。

Cloud Gate
Hinduism
India
Randolph Street
Cloud Gate


subsection

クラウド・ゲート

Kapoor often speaks of removing both the signature of the artist from his works as well as any traces of their fabrication, or what he refers to as "traces of the hand". It is similar to many of Kapoor's previous works in the themes and issues it addresses. While the sculpture's mirror effects are reminiscent of fun-house fairground mirrors, they also have a more serious intent; they help dematerialize this very large object, making it seem light and almost weightless. Cloud Gate is considered Kapoor's most ambitious use of complex mirrored form dynamics. Kapoor challenges his viewers to internalize his work through intellectual and theoretical exercise. By reflecting the sky, visiting and non-visiting pedestrians and surrounding architecture, Cloud Gate limits its viewers to partial comprehension at any time. The interaction with the viewer who moves to create his own vision gives it a spiritual dimension. The sculpture is described as a disembodied, luminous form,The viewer physically enters the art when he walks underneath it into its "navel". The omphalos is a "warped dimension of fluid space". In this dimension, solid is transformed into fluid in a disorienting multiplicative manner that intensifies the experience. It is emblematic of Kapoor's work to deconstruct empirical space and venture into manifold possibilities of abstract space.According to project manager Lou Cerny of MTH Industries, "When the light is right, you can't see where the sculpture ends and the sky begins." The sculpture challenges perception by distorting and deforming the surrounding architecture. The skyscrapers along East Randolph Street to the northeast , north  and northwest  are reflected on Cloud Gates surface when viewed from either the east or the west. The sculpture also warps viewers' perception of time by changing the speed of movements such as the passing of clouds.Although in the conventional sense Cloud Gate is not an opening that leads anywhere in the same way that monumental gates do, it frames a view and is celebratory in the way it creates a ceremonial place.  The work is credited with achieving a new level or understanding described as a transubstantiation of material, reminiscent of that which the artist experienced during a 1979 trip to India. Kapoor's 1000 Names evolved immediately after this trip; twenty-five years later he created Cloud Gate, an object that emerged from material forms to become immaterial.Kapoor often relies on tenets of Hinduism in his art and says that "The experience of opposites allows for the expression of wholeness." Primal dualities that are one, such as the lingam and yoni, are important to Indian culture, and Cloud Gate represents both the male and female in one entity by symbolizing both the vagina and testicles. Thus, it represents the tension between the masculine and the feminine.

Prompt: クラウド・ゲートでは、どのように大衆文化でのクラウドゲートテーマが説明されていますか？英語で出力して下さい。

Cloud Gate
Hinduism
India
Randolph Street
Cloud Gate


subsection

クラウド・ゲート

Kapoor often speaks of removing both the signature of the artist from his works as well as any traces of their fabrication, or what he refers to as "traces of the hand". It is similar to many of Kapoor's previous works in the themes and issues it addresses. While the sculpture's mirror effects are reminiscent of fun-house fairground mirrors, they also have a more serious intent; they help dematerialize this very large object, making it seem light and almost weightless. Cloud Gate is considered Kapoor's most ambitious use of complex mirrored form dynamics. Kapoor challenges his viewers to internalize his work through intellectual and theoretical exercise. By reflecting the sky, visiting and non-visiting pedestrians and surrounding architecture, Cloud Gate limits its viewers to partial comprehension at any time. The interaction with the viewer who moves to create his own vision gives it a spiritual dimension. The sculpture is described as a disembodied, luminous form,The viewer physically enters the art when he walks underneath it into its "navel". The omphalos is a "warped dimension of fluid space". In this dimension, solid is transformed into fluid in a disorienting multiplicative manner that intensifies the experience. It is emblematic of Kapoor's work to deconstruct empirical space and venture into manifold possibilities of abstract space.According to project manager Lou Cerny of MTH Industries, "When the light is right, you can't see where the sculpture ends and the sky begins." The sculpture challenges perception by distorting and deforming the surrounding architecture. The skyscrapers along East Randolph Street to the northeast , north  and northwest  are reflected on Cloud Gates surface when viewed from either the east or the west. The sculpture also warps viewers' perception of time by changing the speed of movements such as the passing of clouds.Although in the conventional sense Cloud Gate is not an opening that leads anywhere in the same way that monumental gates do, it frames a view and is celebratory in the way it creates a ceremonial place.  The work is credited with achieving a new level or understanding described as a transubstantiation of material, reminiscent of that which the artist experienced during a 1979 trip to India. Kapoor's 1000 Names evolved immediately after this trip; twenty-five years later he created Cloud Gate, an object that emerged from material forms to become immaterial.Kapoor often relies on tenets of Hinduism in his art and says that "The experience of opposites allows for the expression of wholeness." Primal dualities that are one, such as the lingam and yoni, are important to Indian culture, and Cloud Gate represents both the male and female in one entity by symbolizing both the vagina and testicles. Thus, it represents the tension between the masculine and the feminine.

Prompt: クラウド・ゲートの大衆文化でにおけるクラウドゲートテーマの特徴を説明してください。英語で出力して下さい。

Cloud Gate
Hinduism
India
Randolph Street
Cloud Gate


subsection

クラウド・ゲート

A June 2017 video by the National Rifle Association  entitled The Clenched Fist of Truth used an image of Cloud Gate. Anish Kapoor sued the NRA to stop running the video, pay any profits gained as a result of the video, compensate him for statutory damages equivalent to $150,000 per infringement, and attorney fees. The suit was settled in December 2018 with the removal of the image from the NRA video.

Prompt: クラウド・ゲートの文脈で、訴訟 全米ライフル協会と大衆文化でを説明してください。英語で出力して下さい。

Anish Kapoor
Cloud Gate
Cloud Gate
The Clenched Fist of Truth


subsection

クラウド・ゲート

A June 2017 video by the National Rifle Association  entitled The Clenched Fist of Truth used an image of Cloud Gate. Anish Kapoor sued the NRA to stop running the video, pay any profits gained as a result of the video, compensate him for statutory damages equivalent to $150,000 per infringement, and attorney fees. The suit was settled in December 2018 with the removal of the image from the NRA video.

Prompt: クラウド・ゲートの大衆文化でに関する訴訟 全米ライフル協会を説明してください。英語で出力して下さい。

Anish Kapoor
Cloud Gate
Cloud Gate
The Clenched Fist of Truth


subsection

クラウド・ゲート

A June 2017 video by the National Rifle Association  entitled The Clenched Fist of Truth used an image of Cloud Gate. Anish Kapoor sued the NRA to stop running the video, pay any profits gained as a result of the video, compensate him for statutory damages equivalent to $150,000 per infringement, and attorney fees. The suit was settled in December 2018 with the removal of the image from the NRA video.

Prompt: クラウド・ゲートでは、どのように大衆文化での訴訟 全米ライフル協会が説明されていますか？英語で出力して下さい。

Anish Kapoor
Cloud Gate
Cloud Gate
The Clenched Fist of Truth


subsection

クラウド・ゲート

A June 2017 video by the National Rifle Association  entitled The Clenched Fist of Truth used an image of Cloud Gate. Anish Kapoor sued the NRA to stop running the video, pay any profits gained as a result of the video, compensate him for statutory damages equivalent to $150,000 per infringement, and attorney fees. The suit was settled in December 2018 with the removal of the image from the NRA video.

Prompt: クラウド・ゲートの大衆文化でにおける訴訟 全米ライフル協会の特徴を説明してください。英語で出力して下さい。

Anish Kapoor
Cloud Gate
Cloud Gate
The Clenched Fist of Truth


section

アレッツォのキメラ

The Chimera of Arezzo is regarded as the best example of ancient Etruscan art. The British art historian David Ekserdjian described the sculpture as "one of the most arresting of all animal sculptures and the supreme masterpiece of Etruscan bronze-casting".  Made entirely of bronze and measuring 78.5 cm high with a length of 129 cm, it was found alongside a small collection of other bronze statues in Arezzo, an ancient Etruscan and Roman city in Tuscany. The statue was originally part of a larger sculptural group representing a fight between a chimera and the Greek hero Bellerophon. This sculpture is likely to have been created as a votive offering to the Etruscan god Tinia and is held by the National Archaeological Museum, Florence.

Prompt: アレッツォのキメラに焦点を当てて、その抽象を説明してください。英語で出力して下さい。


section

アレッツォのキメラ

The Chimera of Arezzo is regarded as the best example of ancient Etruscan art. The British art historian David Ekserdjian described the sculpture as "one of the most arresting of all animal sculptures and the supreme masterpiece of Etruscan bronze-casting".  Made entirely of bronze and measuring 78.5 cm high with a length of 129 cm, it was found alongside a small collection of other bronze statues in Arezzo, an ancient Etruscan and Roman city in Tuscany. The statue was originally part of a larger sculptural group representing a fight between a chimera and the Greek hero Bellerophon. This sculpture is likely to have been created as a votive offering to the Etruscan god Tinia and is held by the National Archaeological Museum, Florence.

Prompt: アレッツォのキメラの抽象を説明してください。英語で出力して下さい。


section

アレッツォのキメラ

The Chimera of Arezzo is regarded as the best example of ancient Etruscan art. The British art historian David Ekserdjian described the sculpture as "one of the most arresting of all animal sculptures and the supreme masterpiece of Etruscan bronze-casting".  Made entirely of bronze and measuring 78.5 cm high with a length of 129 cm, it was found alongside a small collection of other bronze statues in Arezzo, an ancient Etruscan and Roman city in Tuscany. The statue was originally part of a larger sculptural group representing a fight between a chimera and the Greek hero Bellerophon. This sculpture is likely to have been created as a votive offering to the Etruscan god Tinia and is held by the National Archaeological Museum, Florence.

Prompt: アレッツォのキメラ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

アレッツォのキメラ

The Chimera of Arezzo is regarded as the best example of ancient Etruscan art. The British art historian David Ekserdjian described the sculpture as "one of the most arresting of all animal sculptures and the supreme masterpiece of Etruscan bronze-casting".  Made entirely of bronze and measuring 78.5 cm high with a length of 129 cm, it was found alongside a small collection of other bronze statues in Arezzo, an ancient Etruscan and Roman city in Tuscany. The statue was originally part of a larger sculptural group representing a fight between a chimera and the Greek hero Bellerophon. This sculpture is likely to have been created as a votive offering to the Etruscan god Tinia and is held by the National Archaeological Museum, Florence.

Prompt: アレッツォのキメラに関して、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

アレッツォのキメラ

According to Greek mythology, the Chimera or "She-Goat" was a monstrous, fire-breathing hybrid creature of Lycia in Anatolia created by the binding of multiple animal parts to create a singular unnatural creature. As the offspring of Typhon and Echidna, the Chimera ravaged the lands of Lycia at a disastrous pace.Distressed by the destruction of his lands, Iobates, the king of Lycia, ordered a young warrior named Bellerophon to slay her. This was also a favor to a neighboring king, Proetus, who wanted Bellerophon dead because his wife accused Bellerophon of rape and he assumed that the warrior would perish in the attempt to kill the beast.Bellerophon set out on his winged horse, Pegasus, and emerged victorious from his battle, eventually winning not only the hand of Iobates' daughter but also his kingdom. It is this story that led art historians to believe that the Chimera of Arezzo was originally part of a group sculpture that included Bellerophon and Pegasus. Votive offerings for the gods often depicted mythological stories. A round hole on the left rump of the Chimera might suggest a spot where Bellerophon may have struck the beast with a now-missing spear.In response to questions of the statue's true meaning, Giorgio Vasari wrote in his Reasonings Over the Inventions He Painted in Florence in the Palace of Their Serene Highnesses:The tail was not restored until 1785 when the Pistoiese sculptor Francesco Carradori  fashioned a replacement, incorrectly positioning the serpent to bite the goat's horn. It is much more likely that the snake had to strike out against Bellerophon instead since biting the head of the goat meant it was biting itself.Inscribed on its right foreleg is an inscription in the ancient Etruscan language. It has been variously deciphered, but most recently it is thought to read  "Offering belonging to Tinia". The original statue is estimated to have been created around 400 BCE.In 1718, the sculpture was transported to the Uffizi Gallery and later, along with the remaining collection Cosimo I had originally seized, taken to the Palazzo della Crocetta. Court intellectuals of the time considered the Chimera of Arezzo to be a symbol of the Medici domination of the Grand Duchy of Tuscany. Its permanent residence is in the National Archaeological Museum from which it was placed on brief loan to the Getty Villa for an exhibition in 2010.The sculpture was probably commissioned by an aristocratic clan or a prosperous community and erected in a religious sanctuary near the ancient Etruscan town of Arezzo, about 50 miles southeast of Florence. The Chimera was one of a hoard of bronzes that had been carefully buried for safety sometime in classical antiquity. A bronze replica now stands near the spot of its original discovery.

Prompt: アレッツォのキメラに焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Anatolia
Arezzo
Arezzo
Bellerophon
Etruscan language
Francesco Carradori
Getty Villa
Giorgio Vasari
Grand Duchy of Tuscany
Greek mythology
Iobates
Lycia
Pegasus
Proetus
Tinia
Tuscany
Typhon
Uffizi
Uffizi
Votive offering
Votive offering


section

アレッツォのキメラ

According to Greek mythology, the Chimera or "She-Goat" was a monstrous, fire-breathing hybrid creature of Lycia in Anatolia created by the binding of multiple animal parts to create a singular unnatural creature. As the offspring of Typhon and Echidna, the Chimera ravaged the lands of Lycia at a disastrous pace.Distressed by the destruction of his lands, Iobates, the king of Lycia, ordered a young warrior named Bellerophon to slay her. This was also a favor to a neighboring king, Proetus, who wanted Bellerophon dead because his wife accused Bellerophon of rape and he assumed that the warrior would perish in the attempt to kill the beast.Bellerophon set out on his winged horse, Pegasus, and emerged victorious from his battle, eventually winning not only the hand of Iobates' daughter but also his kingdom. It is this story that led art historians to believe that the Chimera of Arezzo was originally part of a group sculpture that included Bellerophon and Pegasus. Votive offerings for the gods often depicted mythological stories. A round hole on the left rump of the Chimera might suggest a spot where Bellerophon may have struck the beast with a now-missing spear.In response to questions of the statue's true meaning, Giorgio Vasari wrote in his Reasonings Over the Inventions He Painted in Florence in the Palace of Their Serene Highnesses:The tail was not restored until 1785 when the Pistoiese sculptor Francesco Carradori  fashioned a replacement, incorrectly positioning the serpent to bite the goat's horn. It is much more likely that the snake had to strike out against Bellerophon instead since biting the head of the goat meant it was biting itself.Inscribed on its right foreleg is an inscription in the ancient Etruscan language. It has been variously deciphered, but most recently it is thought to read  "Offering belonging to Tinia". The original statue is estimated to have been created around 400 BCE.In 1718, the sculpture was transported to the Uffizi Gallery and later, along with the remaining collection Cosimo I had originally seized, taken to the Palazzo della Crocetta. Court intellectuals of the time considered the Chimera of Arezzo to be a symbol of the Medici domination of the Grand Duchy of Tuscany. Its permanent residence is in the National Archaeological Museum from which it was placed on brief loan to the Getty Villa for an exhibition in 2010.The sculpture was probably commissioned by an aristocratic clan or a prosperous community and erected in a religious sanctuary near the ancient Etruscan town of Arezzo, about 50 miles southeast of Florence. The Chimera was one of a hoard of bronzes that had been carefully buried for safety sometime in classical antiquity. A bronze replica now stands near the spot of its original discovery.

Prompt: アレッツォのキメラの歴史を説明してください。英語で出力して下さい。

Anatolia
Arezzo
Arezzo
Bellerophon
Etruscan language
Francesco Carradori
Getty Villa
Giorgio Vasari
Grand Duchy of Tuscany
Greek mythology
Iobates
Lycia
Pegasus
Proetus
Tinia
Tuscany
Typhon
Uffizi
Uffizi
Votive offering
Votive offering


section

アレッツォのキメラ

According to Greek mythology, the Chimera or "She-Goat" was a monstrous, fire-breathing hybrid creature of Lycia in Anatolia created by the binding of multiple animal parts to create a singular unnatural creature. As the offspring of Typhon and Echidna, the Chimera ravaged the lands of Lycia at a disastrous pace.Distressed by the destruction of his lands, Iobates, the king of Lycia, ordered a young warrior named Bellerophon to slay her. This was also a favor to a neighboring king, Proetus, who wanted Bellerophon dead because his wife accused Bellerophon of rape and he assumed that the warrior would perish in the attempt to kill the beast.Bellerophon set out on his winged horse, Pegasus, and emerged victorious from his battle, eventually winning not only the hand of Iobates' daughter but also his kingdom. It is this story that led art historians to believe that the Chimera of Arezzo was originally part of a group sculpture that included Bellerophon and Pegasus. Votive offerings for the gods often depicted mythological stories. A round hole on the left rump of the Chimera might suggest a spot where Bellerophon may have struck the beast with a now-missing spear.In response to questions of the statue's true meaning, Giorgio Vasari wrote in his Reasonings Over the Inventions He Painted in Florence in the Palace of Their Serene Highnesses:The tail was not restored until 1785 when the Pistoiese sculptor Francesco Carradori  fashioned a replacement, incorrectly positioning the serpent to bite the goat's horn. It is much more likely that the snake had to strike out against Bellerophon instead since biting the head of the goat meant it was biting itself.Inscribed on its right foreleg is an inscription in the ancient Etruscan language. It has been variously deciphered, but most recently it is thought to read  "Offering belonging to Tinia". The original statue is estimated to have been created around 400 BCE.In 1718, the sculpture was transported to the Uffizi Gallery and later, along with the remaining collection Cosimo I had originally seized, taken to the Palazzo della Crocetta. Court intellectuals of the time considered the Chimera of Arezzo to be a symbol of the Medici domination of the Grand Duchy of Tuscany. Its permanent residence is in the National Archaeological Museum from which it was placed on brief loan to the Getty Villa for an exhibition in 2010.The sculpture was probably commissioned by an aristocratic clan or a prosperous community and erected in a religious sanctuary near the ancient Etruscan town of Arezzo, about 50 miles southeast of Florence. The Chimera was one of a hoard of bronzes that had been carefully buried for safety sometime in classical antiquity. A bronze replica now stands near the spot of its original discovery.

Prompt: アレッツォのキメラ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。

Anatolia
Arezzo
Arezzo
Bellerophon
Etruscan language
Francesco Carradori
Getty Villa
Giorgio Vasari
Grand Duchy of Tuscany
Greek mythology
Iobates
Lycia
Pegasus
Proetus
Tinia
Tuscany
Typhon
Uffizi
Uffizi
Votive offering
Votive offering


section

アレッツォのキメラ

According to Greek mythology, the Chimera or "She-Goat" was a monstrous, fire-breathing hybrid creature of Lycia in Anatolia created by the binding of multiple animal parts to create a singular unnatural creature. As the offspring of Typhon and Echidna, the Chimera ravaged the lands of Lycia at a disastrous pace.Distressed by the destruction of his lands, Iobates, the king of Lycia, ordered a young warrior named Bellerophon to slay her. This was also a favor to a neighboring king, Proetus, who wanted Bellerophon dead because his wife accused Bellerophon of rape and he assumed that the warrior would perish in the attempt to kill the beast.Bellerophon set out on his winged horse, Pegasus, and emerged victorious from his battle, eventually winning not only the hand of Iobates' daughter but also his kingdom. It is this story that led art historians to believe that the Chimera of Arezzo was originally part of a group sculpture that included Bellerophon and Pegasus. Votive offerings for the gods often depicted mythological stories. A round hole on the left rump of the Chimera might suggest a spot where Bellerophon may have struck the beast with a now-missing spear.In response to questions of the statue's true meaning, Giorgio Vasari wrote in his Reasonings Over the Inventions He Painted in Florence in the Palace of Their Serene Highnesses:The tail was not restored until 1785 when the Pistoiese sculptor Francesco Carradori  fashioned a replacement, incorrectly positioning the serpent to bite the goat's horn. It is much more likely that the snake had to strike out against Bellerophon instead since biting the head of the goat meant it was biting itself.Inscribed on its right foreleg is an inscription in the ancient Etruscan language. It has been variously deciphered, but most recently it is thought to read  "Offering belonging to Tinia". The original statue is estimated to have been created around 400 BCE.In 1718, the sculpture was transported to the Uffizi Gallery and later, along with the remaining collection Cosimo I had originally seized, taken to the Palazzo della Crocetta. Court intellectuals of the time considered the Chimera of Arezzo to be a symbol of the Medici domination of the Grand Duchy of Tuscany. Its permanent residence is in the National Archaeological Museum from which it was placed on brief loan to the Getty Villa for an exhibition in 2010.The sculpture was probably commissioned by an aristocratic clan or a prosperous community and erected in a religious sanctuary near the ancient Etruscan town of Arezzo, about 50 miles southeast of Florence. The Chimera was one of a hoard of bronzes that had been carefully buried for safety sometime in classical antiquity. A bronze replica now stands near the spot of its original discovery.

Prompt: アレッツォのキメラに関して、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。

Anatolia
Arezzo
Arezzo
Bellerophon
Etruscan language
Francesco Carradori
Getty Villa
Giorgio Vasari
Grand Duchy of Tuscany
Greek mythology
Iobates
Lycia
Pegasus
Proetus
Tinia
Tuscany
Typhon
Uffizi
Uffizi
Votive offering
Votive offering


section

アレッツォのキメラ

Typical iconography of the Chimera myth depicts the warrior Bellerophon as he confronts the Chimera, or rides atop or alongside it. This iconography began to appear upon Greek vessels in 600 BCE.

Prompt: アレッツォのキメラに焦点を当てて、その図像学を説明してください。英語で出力して下さい。


section

アレッツォのキメラ

Typical iconography of the Chimera myth depicts the warrior Bellerophon as he confronts the Chimera, or rides atop or alongside it. This iconography began to appear upon Greek vessels in 600 BCE.

Prompt: アレッツォのキメラの図像学を説明してください。英語で出力して下さい。


section

アレッツォのキメラ

Typical iconography of the Chimera myth depicts the warrior Bellerophon as he confronts the Chimera, or rides atop or alongside it. This iconography began to appear upon Greek vessels in 600 BCE.

Prompt: アレッツォのキメラはどのように図像学を説明していますか？英語で出力して下さい。


section

アレッツォのキメラ

Typical iconography of the Chimera myth depicts the warrior Bellerophon as he confronts the Chimera, or rides atop or alongside it. This iconography began to appear upon Greek vessels in 600 BCE.

Prompt: アレッツォのキメラに関して、どのように図像学が議論されていますか？英語で出力して下さい。


section

アレッツォのキメラ

In the 3rd millennium BCE ancient foundry workers discovered by trial and error that bronze had distinct advantages over pure copper for making artistic statuary. Bronze stays liquid longer when filling a mold due to its lower melting point. Bronze is a superior metal to copper for sculpture casting because of its higher tensile strength. The island of Cyprus supplied most of the bronze used for artistic purposes throughout the ancient Mediterranean region.The earliest forms of Greek bronze sculptures were simple, hand-worked sheets of bronze known as sphyrelaton . Like modern clay sculpture, these metal sheets could be embellished by hammering the metal over various wooden shapes made with textures that created a desired look or depth. This was later adapted to become the technique known today as tracing. By the late Archaic period  sphyrelaton lost popularity as lost-wax casting became the primary means of producing bronze sculpture. Lost-wax casting of bronze was achieved in three different ways, each with its own desired effects. The first and earliest method was solid casting, which required a model of the sculpture to be fashioned in solid wax and then carved. The second method was hollow lost-wax casting, which was created by a direct process. Finally, the third was hollow lost-wax casting by an indirect process. The model is packed in clay, and then heated in what today would be similar to a kiln to remove the wax and harden the clay. Then, the mold is inverted and metal poured inside it to create a cast. When cooled, the bronze-smith cracks open the clay model to reveal a solid bronze replica.For smaller details, sculptors often made eyes out of glass and painted on body hair, clothing details, and skin color. Lost in antiquity, most historical knowledge of how certain bronze statues would have looked comes from studying surviving Roman marble copies.

Prompt: アレッツォのキメラに焦点を当てて、その方法と材料を説明してください。英語で出力して下さい。


section

アレッツォのキメラ

In the 3rd millennium BCE ancient foundry workers discovered by trial and error that bronze had distinct advantages over pure copper for making artistic statuary. Bronze stays liquid longer when filling a mold due to its lower melting point. Bronze is a superior metal to copper for sculpture casting because of its higher tensile strength. The island of Cyprus supplied most of the bronze used for artistic purposes throughout the ancient Mediterranean region.The earliest forms of Greek bronze sculptures were simple, hand-worked sheets of bronze known as sphyrelaton . Like modern clay sculpture, these metal sheets could be embellished by hammering the metal over various wooden shapes made with textures that created a desired look or depth. This was later adapted to become the technique known today as tracing. By the late Archaic period  sphyrelaton lost popularity as lost-wax casting became the primary means of producing bronze sculpture. Lost-wax casting of bronze was achieved in three different ways, each with its own desired effects. The first and earliest method was solid casting, which required a model of the sculpture to be fashioned in solid wax and then carved. The second method was hollow lost-wax casting, which was created by a direct process. Finally, the third was hollow lost-wax casting by an indirect process. The model is packed in clay, and then heated in what today would be similar to a kiln to remove the wax and harden the clay. Then, the mold is inverted and metal poured inside it to create a cast. When cooled, the bronze-smith cracks open the clay model to reveal a solid bronze replica.For smaller details, sculptors often made eyes out of glass and painted on body hair, clothing details, and skin color. Lost in antiquity, most historical knowledge of how certain bronze statues would have looked comes from studying surviving Roman marble copies.

Prompt: アレッツォのキメラの方法と材料を説明してください。英語で出力して下さい。


section

アレッツォのキメラ

In the 3rd millennium BCE ancient foundry workers discovered by trial and error that bronze had distinct advantages over pure copper for making artistic statuary. Bronze stays liquid longer when filling a mold due to its lower melting point. Bronze is a superior metal to copper for sculpture casting because of its higher tensile strength. The island of Cyprus supplied most of the bronze used for artistic purposes throughout the ancient Mediterranean region.The earliest forms of Greek bronze sculptures were simple, hand-worked sheets of bronze known as sphyrelaton . Like modern clay sculpture, these metal sheets could be embellished by hammering the metal over various wooden shapes made with textures that created a desired look or depth. This was later adapted to become the technique known today as tracing. By the late Archaic period  sphyrelaton lost popularity as lost-wax casting became the primary means of producing bronze sculpture. Lost-wax casting of bronze was achieved in three different ways, each with its own desired effects. The first and earliest method was solid casting, which required a model of the sculpture to be fashioned in solid wax and then carved. The second method was hollow lost-wax casting, which was created by a direct process. Finally, the third was hollow lost-wax casting by an indirect process. The model is packed in clay, and then heated in what today would be similar to a kiln to remove the wax and harden the clay. Then, the mold is inverted and metal poured inside it to create a cast. When cooled, the bronze-smith cracks open the clay model to reveal a solid bronze replica.For smaller details, sculptors often made eyes out of glass and painted on body hair, clothing details, and skin color. Lost in antiquity, most historical knowledge of how certain bronze statues would have looked comes from studying surviving Roman marble copies.

Prompt: アレッツォのキメラはどのように方法と材料を説明していますか？英語で出力して下さい。


section

アレッツォのキメラ

In the 3rd millennium BCE ancient foundry workers discovered by trial and error that bronze had distinct advantages over pure copper for making artistic statuary. Bronze stays liquid longer when filling a mold due to its lower melting point. Bronze is a superior metal to copper for sculpture casting because of its higher tensile strength. The island of Cyprus supplied most of the bronze used for artistic purposes throughout the ancient Mediterranean region.The earliest forms of Greek bronze sculptures were simple, hand-worked sheets of bronze known as sphyrelaton . Like modern clay sculpture, these metal sheets could be embellished by hammering the metal over various wooden shapes made with textures that created a desired look or depth. This was later adapted to become the technique known today as tracing. By the late Archaic period  sphyrelaton lost popularity as lost-wax casting became the primary means of producing bronze sculpture. Lost-wax casting of bronze was achieved in three different ways, each with its own desired effects. The first and earliest method was solid casting, which required a model of the sculpture to be fashioned in solid wax and then carved. The second method was hollow lost-wax casting, which was created by a direct process. Finally, the third was hollow lost-wax casting by an indirect process. The model is packed in clay, and then heated in what today would be similar to a kiln to remove the wax and harden the clay. Then, the mold is inverted and metal poured inside it to create a cast. When cooled, the bronze-smith cracks open the clay model to reveal a solid bronze replica.For smaller details, sculptors often made eyes out of glass and painted on body hair, clothing details, and skin color. Lost in antiquity, most historical knowledge of how certain bronze statues would have looked comes from studying surviving Roman marble copies.

Prompt: アレッツォのキメラに関して、どのように方法と材料が議論されていますか？英語で出力して下さい。


section

アレッツォのキメラ

September 15, 2012 – December 9, 2012 at the Royal Academy of Arts "Bronze"   <br />July 16, 2009 – February 8, 2010 at the Getty Villa

Prompt: アレッツォのキメラに焦点を当てて、その展示会を説明してください。英語で出力して下さい。

Bronze
Getty Villa
Royal Academy of Arts


section

アレッツォのキメラ

September 15, 2012 – December 9, 2012 at the Royal Academy of Arts "Bronze"   <br />July 16, 2009 – February 8, 2010 at the Getty Villa

Prompt: アレッツォのキメラの展示会を説明してください。英語で出力して下さい。

Bronze
Getty Villa
Royal Academy of Arts


section

アレッツォのキメラ

September 15, 2012 – December 9, 2012 at the Royal Academy of Arts "Bronze"   <br />July 16, 2009 – February 8, 2010 at the Getty Villa

Prompt: アレッツォのキメラはどのように展示会を説明していますか？英語で出力して下さい。

Bronze
Getty Villa
Royal Academy of Arts


section

アレッツォのキメラ

September 15, 2012 – December 9, 2012 at the Royal Academy of Arts "Bronze"   <br />July 16, 2009 – February 8, 2010 at the Getty Villa

Prompt: アレッツォのキメラに関して、どのように展示会が議論されていますか？英語で出力して下さい。

Bronze
Getty Villa
Royal Academy of Arts


section

アレッツォのキメラ

Capitoline Wolf, a bronze long thought to be of 4th-century BCE Etruscan origin, but possibly medieval.

Prompt: アレッツォのキメラに焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

アレッツォのキメラ

Capitoline Wolf, a bronze long thought to be of 4th-century BCE Etruscan origin, but possibly medieval.

Prompt: アレッツォのキメラの参照を説明してください。英語で出力して下さい。


section

アレッツォのキメラ

Capitoline Wolf, a bronze long thought to be of 4th-century BCE Etruscan origin, but possibly medieval.

Prompt: アレッツォのキメラ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

アレッツォのキメラ

Capitoline Wolf, a bronze long thought to be of 4th-century BCE Etruscan origin, but possibly medieval.

Prompt: アレッツォのキメラに関して、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。


subsection

アレッツォのキメラ

The  Etruscan civilization was a wealthy civilization in ancient Italy with roots in the ancient region of Etruria, which existed during the early 8th–6th century BCE and extended over what is now a part of modern Tuscany, western Umbria, and northern zio. The region became a part of the Roman Republic after the Roman–Etruscan Wars.Heavily influenced by Ancient Greek culture, Etruscan art is characterized by the use of terracotta, metalworking—especially in bronze—as well as jewelry and engraved gems. Metal and bronze trinkets from the Mediterranean rapidly began to appear around Etruria. It is not clear to historians exactly when trading with the Eastern Mediterranean began; however, it is clear that both Phoenicians and Greeks must have been interested in the metal ores of Etruria, causing a rise in popularity of the art trade in these regions. The Etruscans were well known for their art throughout the Orientalizing Period , the Archaic Period , and the Hellenistic Period .

Prompt: アレッツォのキメラの文脈で、エトルリア人と歴史を説明してください。英語で出力して下さい。

Ancient Greek
Etruria
Etruscan art
Etruscan civilization
Phoenicia
Roman Republic
Roman–Etruscan Wars
Tuscany
Umbria


subsection

アレッツォのキメラ

The  Etruscan civilization was a wealthy civilization in ancient Italy with roots in the ancient region of Etruria, which existed during the early 8th–6th century BCE and extended over what is now a part of modern Tuscany, western Umbria, and northern zio. The region became a part of the Roman Republic after the Roman–Etruscan Wars.Heavily influenced by Ancient Greek culture, Etruscan art is characterized by the use of terracotta, metalworking—especially in bronze—as well as jewelry and engraved gems. Metal and bronze trinkets from the Mediterranean rapidly began to appear around Etruria. It is not clear to historians exactly when trading with the Eastern Mediterranean began; however, it is clear that both Phoenicians and Greeks must have been interested in the metal ores of Etruria, causing a rise in popularity of the art trade in these regions. The Etruscans were well known for their art throughout the Orientalizing Period , the Archaic Period , and the Hellenistic Period .

Prompt: アレッツォのキメラの歴史に関するエトルリア人を説明してください。英語で出力して下さい。

Ancient Greek
Etruria
Etruscan art
Etruscan civilization
Phoenicia
Roman Republic
Roman–Etruscan Wars
Tuscany
Umbria


subsection

アレッツォのキメラ

The  Etruscan civilization was a wealthy civilization in ancient Italy with roots in the ancient region of Etruria, which existed during the early 8th–6th century BCE and extended over what is now a part of modern Tuscany, western Umbria, and northern zio. The region became a part of the Roman Republic after the Roman–Etruscan Wars.Heavily influenced by Ancient Greek culture, Etruscan art is characterized by the use of terracotta, metalworking—especially in bronze—as well as jewelry and engraved gems. Metal and bronze trinkets from the Mediterranean rapidly began to appear around Etruria. It is not clear to historians exactly when trading with the Eastern Mediterranean began; however, it is clear that both Phoenicians and Greeks must have been interested in the metal ores of Etruria, causing a rise in popularity of the art trade in these regions. The Etruscans were well known for their art throughout the Orientalizing Period , the Archaic Period , and the Hellenistic Period .

Prompt: アレッツォのキメラでは、どのように歴史のエトルリア人が説明されていますか？英語で出力して下さい。

Ancient Greek
Etruria
Etruscan art
Etruscan civilization
Phoenicia
Roman Republic
Roman–Etruscan Wars
Tuscany
Umbria


subsection

アレッツォのキメラ

The  Etruscan civilization was a wealthy civilization in ancient Italy with roots in the ancient region of Etruria, which existed during the early 8th–6th century BCE and extended over what is now a part of modern Tuscany, western Umbria, and northern zio. The region became a part of the Roman Republic after the Roman–Etruscan Wars.Heavily influenced by Ancient Greek culture, Etruscan art is characterized by the use of terracotta, metalworking—especially in bronze—as well as jewelry and engraved gems. Metal and bronze trinkets from the Mediterranean rapidly began to appear around Etruria. It is not clear to historians exactly when trading with the Eastern Mediterranean began; however, it is clear that both Phoenicians and Greeks must have been interested in the metal ores of Etruria, causing a rise in popularity of the art trade in these regions. The Etruscans were well known for their art throughout the Orientalizing Period , the Archaic Period , and the Hellenistic Period .

Prompt: アレッツォのキメラの歴史におけるエトルリア人の特徴を説明してください。英語で出力して下さい。

Ancient Greek
Etruria
Etruscan art
Etruscan civilization
Phoenicia
Roman Republic
Roman–Etruscan Wars
Tuscany
Umbria


subsection

アレッツォのキメラ

Discovered on November 15, 1553, by construction workers near the San Lorentino gate in Arezzo , the sculpture was quickly claimed for the collection of the Medici Grand Duke of Tuscany, Cosimo I, who placed it publicly in the Palazzo Vecchio in the hall of Leo X. Cosimo also placed the smaller bronzes from the trove in his own studiolo at Palazzo Pitti, where "the Duke took great pleasure in cleaning them by himself, with some goldsmith's tools", as Benvenuto Cellini reported in his autobiography. On discovery, the statue was missing the snake and its left front and rear paws. Due to its fragmented state upon discovery, the statue was originally regarded as a lion. The Italian painter Giorgio Vasari tracked down the statue motif by studying Ancient Greek and Roman coins, such as a silver stater Since 1870, the Chimera of Arezzo has made its home at the National Archaeological Museum in Florence. As the sculpture made its way through the Florence museums, it increasingly attracted the attention of both artists and historians.

Prompt: アレッツォのキメラの文脈で、発見と歴史を説明してください。英語で出力して下さい。

Ancient Greek
Arezzo
Arezzo
Benvenuto Cellini
Giorgio Vasari
Palazzo Pitti
Palazzo Vecchio
Tuscany


subsection

アレッツォのキメラ

Discovered on November 15, 1553, by construction workers near the San Lorentino gate in Arezzo , the sculpture was quickly claimed for the collection of the Medici Grand Duke of Tuscany, Cosimo I, who placed it publicly in the Palazzo Vecchio in the hall of Leo X. Cosimo also placed the smaller bronzes from the trove in his own studiolo at Palazzo Pitti, where "the Duke took great pleasure in cleaning them by himself, with some goldsmith's tools", as Benvenuto Cellini reported in his autobiography. On discovery, the statue was missing the snake and its left front and rear paws. Due to its fragmented state upon discovery, the statue was originally regarded as a lion. The Italian painter Giorgio Vasari tracked down the statue motif by studying Ancient Greek and Roman coins, such as a silver stater Since 1870, the Chimera of Arezzo has made its home at the National Archaeological Museum in Florence. As the sculpture made its way through the Florence museums, it increasingly attracted the attention of both artists and historians.

Prompt: アレッツォのキメラの歴史に関する発見を説明してください。英語で出力して下さい。

Ancient Greek
Arezzo
Arezzo
Benvenuto Cellini
Giorgio Vasari
Palazzo Pitti
Palazzo Vecchio
Tuscany


subsection

アレッツォのキメラ

Discovered on November 15, 1553, by construction workers near the San Lorentino gate in Arezzo , the sculpture was quickly claimed for the collection of the Medici Grand Duke of Tuscany, Cosimo I, who placed it publicly in the Palazzo Vecchio in the hall of Leo X. Cosimo also placed the smaller bronzes from the trove in his own studiolo at Palazzo Pitti, where "the Duke took great pleasure in cleaning them by himself, with some goldsmith's tools", as Benvenuto Cellini reported in his autobiography. On discovery, the statue was missing the snake and its left front and rear paws. Due to its fragmented state upon discovery, the statue was originally regarded as a lion. The Italian painter Giorgio Vasari tracked down the statue motif by studying Ancient Greek and Roman coins, such as a silver stater Since 1870, the Chimera of Arezzo has made its home at the National Archaeological Museum in Florence. As the sculpture made its way through the Florence museums, it increasingly attracted the attention of both artists and historians.

Prompt: アレッツォのキメラでは、どのように歴史の発見が説明されていますか？英語で出力して下さい。

Ancient Greek
Arezzo
Arezzo
Benvenuto Cellini
Giorgio Vasari
Palazzo Pitti
Palazzo Vecchio
Tuscany


subsection

アレッツォのキメラ

Discovered on November 15, 1553, by construction workers near the San Lorentino gate in Arezzo , the sculpture was quickly claimed for the collection of the Medici Grand Duke of Tuscany, Cosimo I, who placed it publicly in the Palazzo Vecchio in the hall of Leo X. Cosimo also placed the smaller bronzes from the trove in his own studiolo at Palazzo Pitti, where "the Duke took great pleasure in cleaning them by himself, with some goldsmith's tools", as Benvenuto Cellini reported in his autobiography. On discovery, the statue was missing the snake and its left front and rear paws. Due to its fragmented state upon discovery, the statue was originally regarded as a lion. The Italian painter Giorgio Vasari tracked down the statue motif by studying Ancient Greek and Roman coins, such as a silver stater Since 1870, the Chimera of Arezzo has made its home at the National Archaeological Museum in Florence. As the sculpture made its way through the Florence museums, it increasingly attracted the attention of both artists and historians.

Prompt: アレッツォのキメラの歴史における発見の特徴を説明してください。英語で出力して下さい。

Ancient Greek
Arezzo
Arezzo
Benvenuto Cellini
Giorgio Vasari
Palazzo Pitti
Palazzo Vecchio
Tuscany


section

草原から見たソールズベリー大聖堂

Salisbury Cathedral from the Meadows was painted by John Constable in 1831, three years after the death of his wife, Maria. It is currently on display in London, at Tate Britain, in the Clore gallery. He later added nine lines from The Seasons by the eighteenth-century poet James Thomson that reveal the painting's meaning: that the rainbow is a symbol of hope after a storm that follows on the death of the young Amelia in the arms of her lover Celadon. Constable exhibited this painting at the Royal Academy in 1831, but continued working on it during 1833 and 1834. The art historians Leslie Parris and Ian Fleming-Williams have described the painting as the climax of his artistic career.

Prompt: 草原から見たソールズベリー大聖堂に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

John Constable
Salisbury Cathedral
Tate
Tate Britain


section

草原から見たソールズベリー大聖堂

Salisbury Cathedral from the Meadows was painted by John Constable in 1831, three years after the death of his wife, Maria. It is currently on display in London, at Tate Britain, in the Clore gallery. He later added nine lines from The Seasons by the eighteenth-century poet James Thomson that reveal the painting's meaning: that the rainbow is a symbol of hope after a storm that follows on the death of the young Amelia in the arms of her lover Celadon. Constable exhibited this painting at the Royal Academy in 1831, but continued working on it during 1833 and 1834. The art historians Leslie Parris and Ian Fleming-Williams have described the painting as the climax of his artistic career.

Prompt: 草原から見たソールズベリー大聖堂の抽象を説明してください。英語で出力して下さい。

John Constable
Salisbury Cathedral
Tate
Tate Britain


section

草原から見たソールズベリー大聖堂

Salisbury Cathedral from the Meadows was painted by John Constable in 1831, three years after the death of his wife, Maria. It is currently on display in London, at Tate Britain, in the Clore gallery. He later added nine lines from The Seasons by the eighteenth-century poet James Thomson that reveal the painting's meaning: that the rainbow is a symbol of hope after a storm that follows on the death of the young Amelia in the arms of her lover Celadon. Constable exhibited this painting at the Royal Academy in 1831, but continued working on it during 1833 and 1834. The art historians Leslie Parris and Ian Fleming-Williams have described the painting as the climax of his artistic career.

Prompt: 草原から見たソールズベリー大聖堂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。

John Constable
Salisbury Cathedral
Tate
Tate Britain


section

草原から見たソールズベリー大聖堂

Salisbury Cathedral from the Meadows was painted by John Constable in 1831, three years after the death of his wife, Maria. It is currently on display in London, at Tate Britain, in the Clore gallery. He later added nine lines from The Seasons by the eighteenth-century poet James Thomson that reveal the painting's meaning: that the rainbow is a symbol of hope after a storm that follows on the death of the young Amelia in the arms of her lover Celadon. Constable exhibited this painting at the Royal Academy in 1831, but continued working on it during 1833 and 1834. The art historians Leslie Parris and Ian Fleming-Williams have described the painting as the climax of his artistic career.

Prompt: 草原から見たソールズベリー大聖堂に関して、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。

John Constable
Salisbury Cathedral
Tate
Tate Britain


section

草原から見たソールズベリー大聖堂

This painting was a personal statement of his turbulent emotions and his changing states of mind. The sky reflects this turbulence and shows his emotional state of being.Possible political meanings have been attributed to it, one of which being the clash of industrialization and nature represented through the clash of elements.Symbolism in this painting includes: Grave marker: symbol of death Ash tree: symbol of life Church: symbol of faith and resurrection Rainbow: symbol of renewed optimismConstable considered this work the painting that best embodied ‘the full compass’ of his art.

Prompt: 草原から見たソールズベリー大聖堂に焦点を当てて、その象徴的な比喩を説明してください。英語で出力して下さい。


section

草原から見たソールズベリー大聖堂

This painting was a personal statement of his turbulent emotions and his changing states of mind. The sky reflects this turbulence and shows his emotional state of being.Possible political meanings have been attributed to it, one of which being the clash of industrialization and nature represented through the clash of elements.Symbolism in this painting includes: Grave marker: symbol of death Ash tree: symbol of life Church: symbol of faith and resurrection Rainbow: symbol of renewed optimismConstable considered this work the painting that best embodied ‘the full compass’ of his art.

Prompt: 草原から見たソールズベリー大聖堂の象徴的な比喩を説明してください。英語で出力して下さい。


section

草原から見たソールズベリー大聖堂

This painting was a personal statement of his turbulent emotions and his changing states of mind. The sky reflects this turbulence and shows his emotional state of being.Possible political meanings have been attributed to it, one of which being the clash of industrialization and nature represented through the clash of elements.Symbolism in this painting includes: Grave marker: symbol of death Ash tree: symbol of life Church: symbol of faith and resurrection Rainbow: symbol of renewed optimismConstable considered this work the painting that best embodied ‘the full compass’ of his art.

Prompt: 草原から見たソールズベリー大聖堂はどのように象徴的な比喩を説明していますか？英語で出力して下さい。


section

草原から見たソールズベリー大聖堂

This painting was a personal statement of his turbulent emotions and his changing states of mind. The sky reflects this turbulence and shows his emotional state of being.Possible political meanings have been attributed to it, one of which being the clash of industrialization and nature represented through the clash of elements.Symbolism in this painting includes: Grave marker: symbol of death Ash tree: symbol of life Church: symbol of faith and resurrection Rainbow: symbol of renewed optimismConstable considered this work the painting that best embodied ‘the full compass’ of his art.

Prompt: 草原から見たソールズベリー大聖堂に関して、どのように象徴的な比喩が議論されていますか？英語で出力して下さい。


section

草原から見たソールズベリー大聖堂

In May 2013 the painting was bought by Tate for £23.1m.The acquisition was part of Aspire, a partnership between Tate and four other national and regional galleries – National Museum Wales, the National Galleries of Scotland, Colchester and Ipswich Museums Service and Salisbury and South Wiltshire Museum – and was acquired with major grants and donations from the Heritage Lottery Fund, the Art Fund , The Manton Foundation, and Tate Members. The partnership enabled the work to go on "almost constant" view, and ensured that it would stay in the UK. It now hangs next to JMW Turner's Caligua’s Palace and Bridge . The two paintings were at the centre of a falling-out between the artists at the 1831 Royal Exhibition. Constable, that year's ‘hangman', switched the arrangement of the paintings at the last minute. Turner, unaware of the change, was infuriated by his painting's new position and "slew Constable without remorse" at a dinner they both attended, later that evening.

Prompt: 草原から見たソールズベリー大聖堂に焦点を当てて、そのイギリスに滞在を説明してください。英語で出力して下さい。

Art Fund
Ipswich Museum
National Galleries of Scotland
Tate


section

草原から見たソールズベリー大聖堂

In May 2013 the painting was bought by Tate for £23.1m.The acquisition was part of Aspire, a partnership between Tate and four other national and regional galleries – National Museum Wales, the National Galleries of Scotland, Colchester and Ipswich Museums Service and Salisbury and South Wiltshire Museum – and was acquired with major grants and donations from the Heritage Lottery Fund, the Art Fund , The Manton Foundation, and Tate Members. The partnership enabled the work to go on "almost constant" view, and ensured that it would stay in the UK. It now hangs next to JMW Turner's Caligua’s Palace and Bridge . The two paintings were at the centre of a falling-out between the artists at the 1831 Royal Exhibition. Constable, that year's ‘hangman', switched the arrangement of the paintings at the last minute. Turner, unaware of the change, was infuriated by his painting's new position and "slew Constable without remorse" at a dinner they both attended, later that evening.

Prompt: 草原から見たソールズベリー大聖堂のイギリスに滞在を説明してください。英語で出力して下さい。

Art Fund
Ipswich Museum
National Galleries of Scotland
Tate


section

草原から見たソールズベリー大聖堂

In May 2013 the painting was bought by Tate for £23.1m.The acquisition was part of Aspire, a partnership between Tate and four other national and regional galleries – National Museum Wales, the National Galleries of Scotland, Colchester and Ipswich Museums Service and Salisbury and South Wiltshire Museum – and was acquired with major grants and donations from the Heritage Lottery Fund, the Art Fund , The Manton Foundation, and Tate Members. The partnership enabled the work to go on "almost constant" view, and ensured that it would stay in the UK. It now hangs next to JMW Turner's Caligua’s Palace and Bridge . The two paintings were at the centre of a falling-out between the artists at the 1831 Royal Exhibition. Constable, that year's ‘hangman', switched the arrangement of the paintings at the last minute. Turner, unaware of the change, was infuriated by his painting's new position and "slew Constable without remorse" at a dinner they both attended, later that evening.

Prompt: 草原から見たソールズベリー大聖堂はどのようにイギリスに滞在を説明していますか？英語で出力して下さい。

Art Fund
Ipswich Museum
National Galleries of Scotland
Tate


section

草原から見たソールズベリー大聖堂

In May 2013 the painting was bought by Tate for £23.1m.The acquisition was part of Aspire, a partnership between Tate and four other national and regional galleries – National Museum Wales, the National Galleries of Scotland, Colchester and Ipswich Museums Service and Salisbury and South Wiltshire Museum – and was acquired with major grants and donations from the Heritage Lottery Fund, the Art Fund , The Manton Foundation, and Tate Members. The partnership enabled the work to go on "almost constant" view, and ensured that it would stay in the UK. It now hangs next to JMW Turner's Caligua’s Palace and Bridge . The two paintings were at the centre of a falling-out between the artists at the 1831 Royal Exhibition. Constable, that year's ‘hangman', switched the arrangement of the paintings at the last minute. Turner, unaware of the change, was infuriated by his painting's new position and "slew Constable without remorse" at a dinner they both attended, later that evening.

Prompt: 草原から見たソールズベリー大聖堂に関して、どのようにイギリスに滞在が議論されていますか？英語で出力して下さい。

Art Fund
Ipswich Museum
National Galleries of Scotland
Tate


section

草原から見たソールズベリー大聖堂

List of paintings by John Constable Salisbury Cathedral from the Bishop's Grounds

Prompt: 草原から見たソールズベリー大聖堂に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

草原から見たソールズベリー大聖堂

List of paintings by John Constable Salisbury Cathedral from the Bishop's Grounds

Prompt: 草原から見たソールズベリー大聖堂の参照を説明してください。英語で出力して下さい。


section

草原から見たソールズベリー大聖堂

List of paintings by John Constable Salisbury Cathedral from the Bishop's Grounds

Prompt: 草原から見たソールズベリー大聖堂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

草原から見たソールズベリー大聖堂

List of paintings by John Constable Salisbury Cathedral from the Bishop's Grounds

Prompt: 草原から見たソールズベリー大聖堂に関して、どのように参照が議論されていますか？英語で出力して下さい。


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聖母戴冠 (ラファエロ)

The Oddi altarpiece, or more correctly the degli Oddi altarpiece, is an altarpiece of the Coronation of the Virgin painted in 1502-1504 by the Italian Renaissance master Raphael for the altar of the Oddi family chapel in the church of San Francesco al Prato in Perugia, Italy, now in the Vatican Pinacoteca. The altarpiece was commissioned for the Oddi family chapel in San Francesco al Prato in Perugia, was taken to Paris in 1797  and in 1815 brought back to Italy, not to Perugia but to the Vatican Pinacoteca. 	The altarpiece was commissioned by Leandra Baglioni, widow of Simone degli Oddi; in Perugia there were different Oddi and degli Oddi families, but English sources often ignore this, including the English version of the Vatican Museums website.

Prompt: 聖母戴冠 (ラファエロ)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。

Coronation of the Virgin
Perugia
Raphael
Vatican Museums
Vatican Museums


section

聖母戴冠 (ラファエロ)

The Oddi altarpiece, or more correctly the degli Oddi altarpiece, is an altarpiece of the Coronation of the Virgin painted in 1502-1504 by the Italian Renaissance master Raphael for the altar of the Oddi family chapel in the church of San Francesco al Prato in Perugia, Italy, now in the Vatican Pinacoteca. The altarpiece was commissioned for the Oddi family chapel in San Francesco al Prato in Perugia, was taken to Paris in 1797  and in 1815 brought back to Italy, not to Perugia but to the Vatican Pinacoteca. 	The altarpiece was commissioned by Leandra Baglioni, widow of Simone degli Oddi; in Perugia there were different Oddi and degli Oddi families, but English sources often ignore this, including the English version of the Vatican Museums website.

Prompt: 聖母戴冠 (ラファエロ)の抽象を説明してください。英語で出力して下さい。

Coronation of the Virgin
Perugia
Raphael
Vatican Museums
Vatican Museums


section

聖母戴冠 (ラファエロ)

The Oddi altarpiece, or more correctly the degli Oddi altarpiece, is an altarpiece of the Coronation of the Virgin painted in 1502-1504 by the Italian Renaissance master Raphael for the altar of the Oddi family chapel in the church of San Francesco al Prato in Perugia, Italy, now in the Vatican Pinacoteca. The altarpiece was commissioned for the Oddi family chapel in San Francesco al Prato in Perugia, was taken to Paris in 1797  and in 1815 brought back to Italy, not to Perugia but to the Vatican Pinacoteca. 	The altarpiece was commissioned by Leandra Baglioni, widow of Simone degli Oddi; in Perugia there were different Oddi and degli Oddi families, but English sources often ignore this, including the English version of the Vatican Museums website.

Prompt: 聖母戴冠 (ラファエロ)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。

Coronation of the Virgin
Perugia
Raphael
Vatican Museums
Vatican Museums


section

聖母戴冠 (ラファエロ)

The Oddi altarpiece, or more correctly the degli Oddi altarpiece, is an altarpiece of the Coronation of the Virgin painted in 1502-1504 by the Italian Renaissance master Raphael for the altar of the Oddi family chapel in the church of San Francesco al Prato in Perugia, Italy, now in the Vatican Pinacoteca. The altarpiece was commissioned for the Oddi family chapel in San Francesco al Prato in Perugia, was taken to Paris in 1797  and in 1815 brought back to Italy, not to Perugia but to the Vatican Pinacoteca. 	The altarpiece was commissioned by Leandra Baglioni, widow of Simone degli Oddi; in Perugia there were different Oddi and degli Oddi families, but English sources often ignore this, including the English version of the Vatican Museums website.

Prompt: 聖母戴冠 (ラファエロ)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。

Coronation of the Virgin
Perugia
Raphael
Vatican Museums
Vatican Museums


section

聖母戴冠 (ラファエロ)

The actions of the painting occur in two related scenes, one in heaven and the other terrestrial. Above the coronation shows the Virgin being crowned by Jesus, while angels are playing music; while below the section depicts the apostles gathering around the empty tomb of Mary, whose body was raised to heaven without corruption. St Thomas holds in his hands the girdle Mary dropped down to him as a testament to her assumption. The saints raise their eyes to the heavenly spectacle.

Prompt: 聖母戴冠 (ラファエロ)に焦点を当てて、その聖母の戴冠を説明してください。英語で出力して下さい。


section

聖母戴冠 (ラファエロ)

The actions of the painting occur in two related scenes, one in heaven and the other terrestrial. Above the coronation shows the Virgin being crowned by Jesus, while angels are playing music; while below the section depicts the apostles gathering around the empty tomb of Mary, whose body was raised to heaven without corruption. St Thomas holds in his hands the girdle Mary dropped down to him as a testament to her assumption. The saints raise their eyes to the heavenly spectacle.

Prompt: 聖母戴冠 (ラファエロ)の聖母の戴冠を説明してください。英語で出力して下さい。


section

聖母戴冠 (ラファエロ)

The actions of the painting occur in two related scenes, one in heaven and the other terrestrial. Above the coronation shows the Virgin being crowned by Jesus, while angels are playing music; while below the section depicts the apostles gathering around the empty tomb of Mary, whose body was raised to heaven without corruption. St Thomas holds in his hands the girdle Mary dropped down to him as a testament to her assumption. The saints raise their eyes to the heavenly spectacle.

Prompt: 聖母戴冠 (ラファエロ)はどのように聖母の戴冠を説明していますか？英語で出力して下さい。


section

聖母戴冠 (ラファエロ)

The actions of the painting occur in two related scenes, one in heaven and the other terrestrial. Above the coronation shows the Virgin being crowned by Jesus, while angels are playing music; while below the section depicts the apostles gathering around the empty tomb of Mary, whose body was raised to heaven without corruption. St Thomas holds in his hands the girdle Mary dropped down to him as a testament to her assumption. The saints raise their eyes to the heavenly spectacle.

Prompt: 聖母戴冠 (ラファエロ)に関して、どのように聖母の戴冠が議論されていますか？英語で出力して下さい。


section

聖母戴冠 (ラファエロ)

The predella  is composed of three 27 × 50 cm paintings, showing scenes of The Life of the Virgin:The Annunciation, The Adoration of the Magi, Presentation in the Temple{ align=center! colspan="6" style="background:#ECECEC; "Predella panels- 210px210px210px- style="background:#ECECEC; "  style="background:#ECECEC; "  style="background:#ECECEC; " -}

Prompt: 聖母戴冠 (ラファエロ)に焦点を当てて、そのプレデッラを説明してください。英語で出力して下さい。


section

聖母戴冠 (ラファエロ)

The predella  is composed of three 27 × 50 cm paintings, showing scenes of The Life of the Virgin:The Annunciation, The Adoration of the Magi, Presentation in the Temple{ align=center! colspan="6" style="background:#ECECEC; "Predella panels- 210px210px210px- style="background:#ECECEC; "  style="background:#ECECEC; "  style="background:#ECECEC; " -}

Prompt: 聖母戴冠 (ラファエロ)のプレデッラを説明してください。英語で出力して下さい。


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聖母戴冠 (ラファエロ)

The predella  is composed of three 27 × 50 cm paintings, showing scenes of The Life of the Virgin:The Annunciation, The Adoration of the Magi, Presentation in the Temple{ align=center! colspan="6" style="background:#ECECEC; "Predella panels- 210px210px210px- style="background:#ECECEC; "  style="background:#ECECEC; "  style="background:#ECECEC; " -}

Prompt: 聖母戴冠 (ラファエロ)はどのようにプレデッラを説明していますか？英語で出力して下さい。


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聖母戴冠 (ラファエロ)

The predella  is composed of three 27 × 50 cm paintings, showing scenes of The Life of the Virgin:The Annunciation, The Adoration of the Magi, Presentation in the Temple{ align=center! colspan="6" style="background:#ECECEC; "Predella panels- 210px210px210px- style="background:#ECECEC; "  style="background:#ECECEC; "  style="background:#ECECEC; " -}

Prompt: 聖母戴冠 (ラファエロ)に関して、どのようにプレデッラが議論されていますか？英語で出力して下さい。


section

聖母戴冠 (ラファエロ)

Prompt: 聖母戴冠 (ラファエロ)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

聖母戴冠 (ラファエロ)

Prompt: 聖母戴冠 (ラファエロ)の参照を説明してください。英語で出力して下さい。


section

聖母戴冠 (ラファエロ)

Prompt: 聖母戴冠 (ラファエロ)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

聖母戴冠 (ラファエロ)

Prompt: 聖母戴冠 (ラファエロ)に関して、どのように参照が議論されていますか？英語で出力して下さい。


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バッカスとアリアドネ

</ref> type=Oil on canvas  height_metric= 176.5 width_metric= 191 museum=National Gallery city=London}}Bacchus and Ariadne  is an oil painting by Titian. It is one of a cycle of paintings on mythological subjects produced for Alfonso I d'Este, Duke of Ferrara, for the Camerino d'Alabastro – a private room in his palazzo in Ferrara decorated with paintings based on classical texts. An advance payment was given to Raphael, who originally held the commission for the subject of a Triumph of Bacchus. At the time of Raphael's death in 1520, only a preliminary drawing was completed. The commission was then handed to Titian. In the case of Bacchus and Ariadne, the subject matter was derived from the Roman poets Catullus and Ovid.The painting, considered one of Titian's greatest works, now hangs in the National Gallery in London. The other major paintings in the cycle are The Feast of the Gods, mostly by Giovanni Bellini, now in the National Gallery of Art, Washington, D.C, and Titian's The Bacchanal of the Andrians and The Worship of Venus, both now in the Museo del Prado, Madrid.

Prompt: バッカスとアリアドネに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Alfonso I d'Este
Ariadne
Catullus
Giovanni Bellini
London
Madrid
Museo del Prado
National Gallery
National Gallery of Art
Ovid
Raphael
The Bacchanal of the Andrians
The Feast of the Gods
The Worship of Venus
Titian


section

バッカスとアリアドネ

</ref> type=Oil on canvas  height_metric= 176.5 width_metric= 191 museum=National Gallery city=London}}Bacchus and Ariadne  is an oil painting by Titian. It is one of a cycle of paintings on mythological subjects produced for Alfonso I d'Este, Duke of Ferrara, for the Camerino d'Alabastro – a private room in his palazzo in Ferrara decorated with paintings based on classical texts. An advance payment was given to Raphael, who originally held the commission for the subject of a Triumph of Bacchus. At the time of Raphael's death in 1520, only a preliminary drawing was completed. The commission was then handed to Titian. In the case of Bacchus and Ariadne, the subject matter was derived from the Roman poets Catullus and Ovid.The painting, considered one of Titian's greatest works, now hangs in the National Gallery in London. The other major paintings in the cycle are The Feast of the Gods, mostly by Giovanni Bellini, now in the National Gallery of Art, Washington, D.C, and Titian's The Bacchanal of the Andrians and The Worship of Venus, both now in the Museo del Prado, Madrid.

Prompt: バッカスとアリアドネの抽象を説明してください。英語で出力して下さい。

Alfonso I d'Este
Ariadne
Catullus
Giovanni Bellini
London
Madrid
Museo del Prado
National Gallery
National Gallery of Art
Ovid
Raphael
The Bacchanal of the Andrians
The Feast of the Gods
The Worship of Venus
Titian


section

バッカスとアリアドネ

</ref> type=Oil on canvas  height_metric= 176.5 width_metric= 191 museum=National Gallery city=London}}Bacchus and Ariadne  is an oil painting by Titian. It is one of a cycle of paintings on mythological subjects produced for Alfonso I d'Este, Duke of Ferrara, for the Camerino d'Alabastro – a private room in his palazzo in Ferrara decorated with paintings based on classical texts. An advance payment was given to Raphael, who originally held the commission for the subject of a Triumph of Bacchus. At the time of Raphael's death in 1520, only a preliminary drawing was completed. The commission was then handed to Titian. In the case of Bacchus and Ariadne, the subject matter was derived from the Roman poets Catullus and Ovid.The painting, considered one of Titian's greatest works, now hangs in the National Gallery in London. The other major paintings in the cycle are The Feast of the Gods, mostly by Giovanni Bellini, now in the National Gallery of Art, Washington, D.C, and Titian's The Bacchanal of the Andrians and The Worship of Venus, both now in the Museo del Prado, Madrid.

Prompt: バッカスとアリアドネ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。

Alfonso I d'Este
Ariadne
Catullus
Giovanni Bellini
London
Madrid
Museo del Prado
National Gallery
National Gallery of Art
Ovid
Raphael
The Bacchanal of the Andrians
The Feast of the Gods
The Worship of Venus
Titian


section

バッカスとアリアドネ

</ref> type=Oil on canvas  height_metric= 176.5 width_metric= 191 museum=National Gallery city=London}}Bacchus and Ariadne  is an oil painting by Titian. It is one of a cycle of paintings on mythological subjects produced for Alfonso I d'Este, Duke of Ferrara, for the Camerino d'Alabastro – a private room in his palazzo in Ferrara decorated with paintings based on classical texts. An advance payment was given to Raphael, who originally held the commission for the subject of a Triumph of Bacchus. At the time of Raphael's death in 1520, only a preliminary drawing was completed. The commission was then handed to Titian. In the case of Bacchus and Ariadne, the subject matter was derived from the Roman poets Catullus and Ovid.The painting, considered one of Titian's greatest works, now hangs in the National Gallery in London. The other major paintings in the cycle are The Feast of the Gods, mostly by Giovanni Bellini, now in the National Gallery of Art, Washington, D.C, and Titian's The Bacchanal of the Andrians and The Worship of Venus, both now in the Museo del Prado, Madrid.

Prompt: バッカスとアリアドネに関して、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。

Alfonso I d'Este
Ariadne
Catullus
Giovanni Bellini
London
Madrid
Museo del Prado
National Gallery
National Gallery of Art
Ovid
Raphael
The Bacchanal of the Andrians
The Feast of the Gods
The Worship of Venus
Titian


section

バッカスとアリアドネ

Ariadne has been left on the island of Naxos, deserted by her lover Theseus, whose ship sails away to the far left. She is discovered on the shore by the god Bacchus, leading a procession of revellers in a chariot drawn by two cheetahs. These were probably modelled on those in the Duke's menagerie and were tigers in Ovid's original text. Bacchus is depicted in mid-air as he leaps out of the chariot, taking her with him. In the sky above the figure of Ariadne is the star constellation Corona Borealis, the Northern Crown. The National Gallery's website states that in the painting, "Bacchus, god of wine, emerges with his followers from the landscape to the right. Falling in love with Ariadne on first sight, he leaps from his chariot, drawn by two cheetahs, towards her. Ariadne had been abandoned on the Greek island of Naxos by Theseus, whose ship is shown in the distance. The picture shows her initial fear of Bacchus, but he raised her to heaven and turned her into a constellation, represented by the stars above her head."The composition is divided diagonally into two triangles, one of blue sky, using the expensive ultramarine pigment, and still but for the two lovers caught in movement, the other a riot of movement and predominantly green/brown in colour. The follower of Bacchus who struggles with a snake is sometimes associated with the antique sculpture of ocoön and His Sons who had been killed by snakes. This statue had recently been discovered in Rome, and Titian had a history of sketching this figure, as seen through a woodcut completed from Titian's sketch of ocoön and his sons. But the satyr in Titian's painting is not in a mortal combat with the snakes, he is merely girding himself with them as is described in the original text by Catullus. The King Charles Spaniel that barks at the boy satyr is a common motif in Titian's work and was probably a court pet. The gold urn inscribed with the artist's signature  may also have been familiar to the Duke as one of the antiquities in his collection.The analysis of pigments used by Titian in this painting has been undertaken by scientists at the National Gallery in London and this analysis is illustrated at ColourLex.

Prompt: バッカスとアリアドネに焦点を当てて、その説明を説明してください。英語で出力して下さい。

Ariadne
Catullus
Corona Borealis
King Charles Spaniel
London
National Gallery
Ovid
Theseus
Titian


section

バッカスとアリアドネ

Ariadne has been left on the island of Naxos, deserted by her lover Theseus, whose ship sails away to the far left. She is discovered on the shore by the god Bacchus, leading a procession of revellers in a chariot drawn by two cheetahs. These were probably modelled on those in the Duke's menagerie and were tigers in Ovid's original text. Bacchus is depicted in mid-air as he leaps out of the chariot, taking her with him. In the sky above the figure of Ariadne is the star constellation Corona Borealis, the Northern Crown. The National Gallery's website states that in the painting, "Bacchus, god of wine, emerges with his followers from the landscape to the right. Falling in love with Ariadne on first sight, he leaps from his chariot, drawn by two cheetahs, towards her. Ariadne had been abandoned on the Greek island of Naxos by Theseus, whose ship is shown in the distance. The picture shows her initial fear of Bacchus, but he raised her to heaven and turned her into a constellation, represented by the stars above her head."The composition is divided diagonally into two triangles, one of blue sky, using the expensive ultramarine pigment, and still but for the two lovers caught in movement, the other a riot of movement and predominantly green/brown in colour. The follower of Bacchus who struggles with a snake is sometimes associated with the antique sculpture of ocoön and His Sons who had been killed by snakes. This statue had recently been discovered in Rome, and Titian had a history of sketching this figure, as seen through a woodcut completed from Titian's sketch of ocoön and his sons. But the satyr in Titian's painting is not in a mortal combat with the snakes, he is merely girding himself with them as is described in the original text by Catullus. The King Charles Spaniel that barks at the boy satyr is a common motif in Titian's work and was probably a court pet. The gold urn inscribed with the artist's signature  may also have been familiar to the Duke as one of the antiquities in his collection.The analysis of pigments used by Titian in this painting has been undertaken by scientists at the National Gallery in London and this analysis is illustrated at ColourLex.

Prompt: バッカスとアリアドネの説明を説明してください。英語で出力して下さい。

Ariadne
Catullus
Corona Borealis
King Charles Spaniel
London
National Gallery
Ovid
Theseus
Titian