subsection

ドルーシャウトの肖像画

In addition to its use as a template to judge the authenticity of other images, scholars have alsospeculated about the original source used by Droeshout himself. The 19th-century scholar George Scharf argued on the basis of the inconsistencies in the lights and shadows that the original image would have been "either a limning or a crayon drawing". These typically used outlines rather than chiaroscuro modelling. He deduced that Droeshout had inexpertly attempted to add modelling shadows. Mary Edmond points out that Droeshout the Elder seems to have had an association with Marcus Gheeraerts the portraitist, and notes that there is evidence that a portrait of Shakespeare by Gheeraerts may have once existed. She surmises that Droeshout's engraving may have been derived from this lost portrait. Cooper argues that the poor drawing and modelling of the doublet and collar suggests that Droeshout was copying a lost drawing or painting that only depicted Shakespeare's head and shoulders. The body was added by the engraver himself, as was common practice. In 2005 chemical analysis proved the portrait to be a 19th-century fake painted over an authentic 17th-century image.

Prompt: ドルーシャウトの肖像画の批評評価におけるソース画像の特徴を説明してください。英語で出力して下さい。


subsection

ドルーシャウトの肖像画

Proponents of the Shakespeare authorship question, who assert that someone other than Shakespeare was the real author of the plays attributed to him, have claimed to find hidden signs in the portrait pointing to this supposed secret. Indeed, Dover Wilson suggested that the poor quality of the Droeshout and funeral effigy images are the underlying reason for "the campaign against 'the man from Stratford' and the attempts to dethrone him in favour of Lord Bacon, the Earl of Derby, the Earl of Oxford, or whatever coroneted pretender may be in vogue at the present moment." Using similar methods Charles Sidney Beauclerk subsequently concluded that the portrait depicted the Earl of Oxford. In 1995, Lillian Schwartz, using a computerised version of the same technique, argued that it was based on a portrait of Elizabeth I.An alternative approach has been to claim that the portrait depicts William Shakespeare, but does so in a way designed to ridicule him by making him look ugly, or to suggest that he is a mask for a hidden author. The double line created by the gap between the modelling shadow and the jawline has been used to suggest that it is a mask, as has the shape of the doublet, which is claimed to represent both the back and front of the body. Thus Edwin Durning-wrence asserts that "there is no question – there can be no possible question – that in fact it is a cunningly drawn cryptographic picture, shewing two left arms and a mask ... Especially note that the ear is a mask ear and stands out curiously; note also how distinct the line shewing the edge of the mask appears."None of these views are accepted by mainstream art historians. Lewis writes that these features are all characteristic of engravings of the era and that none are unusual. An engraving of John Davies of Hereford shares most of these quirks for example, including the uncertain placing of the head on the body and the "same awkward difference in design between the right and left shoulders".

Prompt: ドルーシャウトの肖像画の文脈で、陰謀論と批評評価を説明してください。英語で出力して下さい。

Charles Sidney Beauclerk
Elizabeth I
John Davies of Hereford
Lillian Schwartz
Shakespeare authorship question
William Shakespeare


subsection

ドルーシャウトの肖像画

Proponents of the Shakespeare authorship question, who assert that someone other than Shakespeare was the real author of the plays attributed to him, have claimed to find hidden signs in the portrait pointing to this supposed secret. Indeed, Dover Wilson suggested that the poor quality of the Droeshout and funeral effigy images are the underlying reason for "the campaign against 'the man from Stratford' and the attempts to dethrone him in favour of Lord Bacon, the Earl of Derby, the Earl of Oxford, or whatever coroneted pretender may be in vogue at the present moment." Using similar methods Charles Sidney Beauclerk subsequently concluded that the portrait depicted the Earl of Oxford. In 1995, Lillian Schwartz, using a computerised version of the same technique, argued that it was based on a portrait of Elizabeth I.An alternative approach has been to claim that the portrait depicts William Shakespeare, but does so in a way designed to ridicule him by making him look ugly, or to suggest that he is a mask for a hidden author. The double line created by the gap between the modelling shadow and the jawline has been used to suggest that it is a mask, as has the shape of the doublet, which is claimed to represent both the back and front of the body. Thus Edwin Durning-wrence asserts that "there is no question – there can be no possible question – that in fact it is a cunningly drawn cryptographic picture, shewing two left arms and a mask ... Especially note that the ear is a mask ear and stands out curiously; note also how distinct the line shewing the edge of the mask appears."None of these views are accepted by mainstream art historians. Lewis writes that these features are all characteristic of engravings of the era and that none are unusual. An engraving of John Davies of Hereford shares most of these quirks for example, including the uncertain placing of the head on the body and the "same awkward difference in design between the right and left shoulders".

Prompt: ドルーシャウトの肖像画の批評評価に関する陰謀論を説明してください。英語で出力して下さい。

Charles Sidney Beauclerk
Elizabeth I
John Davies of Hereford
Lillian Schwartz
Shakespeare authorship question
William Shakespeare


subsection

ドルーシャウトの肖像画

Proponents of the Shakespeare authorship question, who assert that someone other than Shakespeare was the real author of the plays attributed to him, have claimed to find hidden signs in the portrait pointing to this supposed secret. Indeed, Dover Wilson suggested that the poor quality of the Droeshout and funeral effigy images are the underlying reason for "the campaign against 'the man from Stratford' and the attempts to dethrone him in favour of Lord Bacon, the Earl of Derby, the Earl of Oxford, or whatever coroneted pretender may be in vogue at the present moment." Using similar methods Charles Sidney Beauclerk subsequently concluded that the portrait depicted the Earl of Oxford. In 1995, Lillian Schwartz, using a computerised version of the same technique, argued that it was based on a portrait of Elizabeth I.An alternative approach has been to claim that the portrait depicts William Shakespeare, but does so in a way designed to ridicule him by making him look ugly, or to suggest that he is a mask for a hidden author. The double line created by the gap between the modelling shadow and the jawline has been used to suggest that it is a mask, as has the shape of the doublet, which is claimed to represent both the back and front of the body. Thus Edwin Durning-wrence asserts that "there is no question – there can be no possible question – that in fact it is a cunningly drawn cryptographic picture, shewing two left arms and a mask ... Especially note that the ear is a mask ear and stands out curiously; note also how distinct the line shewing the edge of the mask appears."None of these views are accepted by mainstream art historians. Lewis writes that these features are all characteristic of engravings of the era and that none are unusual. An engraving of John Davies of Hereford shares most of these quirks for example, including the uncertain placing of the head on the body and the "same awkward difference in design between the right and left shoulders".

Prompt: ドルーシャウトの肖像画では、どのように批評評価の陰謀論が説明されていますか？英語で出力して下さい。

Charles Sidney Beauclerk
Elizabeth I
John Davies of Hereford
Lillian Schwartz
Shakespeare authorship question
William Shakespeare


subsection

ドルーシャウトの肖像画

Proponents of the Shakespeare authorship question, who assert that someone other than Shakespeare was the real author of the plays attributed to him, have claimed to find hidden signs in the portrait pointing to this supposed secret. Indeed, Dover Wilson suggested that the poor quality of the Droeshout and funeral effigy images are the underlying reason for "the campaign against 'the man from Stratford' and the attempts to dethrone him in favour of Lord Bacon, the Earl of Derby, the Earl of Oxford, or whatever coroneted pretender may be in vogue at the present moment." Using similar methods Charles Sidney Beauclerk subsequently concluded that the portrait depicted the Earl of Oxford. In 1995, Lillian Schwartz, using a computerised version of the same technique, argued that it was based on a portrait of Elizabeth I.An alternative approach has been to claim that the portrait depicts William Shakespeare, but does so in a way designed to ridicule him by making him look ugly, or to suggest that he is a mask for a hidden author. The double line created by the gap between the modelling shadow and the jawline has been used to suggest that it is a mask, as has the shape of the doublet, which is claimed to represent both the back and front of the body. Thus Edwin Durning-wrence asserts that "there is no question – there can be no possible question – that in fact it is a cunningly drawn cryptographic picture, shewing two left arms and a mask ... Especially note that the ear is a mask ear and stands out curiously; note also how distinct the line shewing the edge of the mask appears."None of these views are accepted by mainstream art historians. Lewis writes that these features are all characteristic of engravings of the era and that none are unusual. An engraving of John Davies of Hereford shares most of these quirks for example, including the uncertain placing of the head on the body and the "same awkward difference in design between the right and left shoulders".

Prompt: ドルーシャウトの肖像画の批評評価における陰謀論の特徴を説明してください。英語で出力して下さい。

Charles Sidney Beauclerk
Elizabeth I
John Davies of Hereford
Lillian Schwartz
Shakespeare authorship question
William Shakespeare


section

エミール・ゾラの肖像

Portrait of Émile Zola is a painting of Émile Zola by Édouard Manet. Manet submitted the portrait to the 1868 Salon.At this time Zola was known for his art criticism, and perhaps particularly as the writer of the novel Thérèse Raquin.  This told the story of an adulterous affair between Thérèse, the wife of a clerk in a railway company, and a would-be painter named urent, whose work, rather like that of Zola's friend Paul Cézanne, is denigrated by the critics. In the eleventh chapter the milieu of Manet's Le Déjeuner sur l’herbe is evoked, in the murder scene, where Camille, the husband, goes out for the day with his wife and her lover to Saint-Ouen.On the wall is a reproduction of Manet's Olympia, a controversial painting at the 1865 Salon but which Zola considered Manet's best work. "Behind it is an engraving from Velazquez's Bacchus indicating the taste for Spanish art shared by the painter and the writer. A Japanese print of a wrestler by Utagawa Kuniaki II completes the décor."  A Japanese screen on the left of the picture recalls the role that the Far East played in revolutionizing ideas on perspective and colour in European painting.

Prompt: エミール・ゾラの肖像に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Paul Cézanne
Thérèse Raquin
Édouard Manet
Émile Zola


section

エミール・ゾラの肖像

Portrait of Émile Zola is a painting of Émile Zola by Édouard Manet. Manet submitted the portrait to the 1868 Salon.At this time Zola was known for his art criticism, and perhaps particularly as the writer of the novel Thérèse Raquin.  This told the story of an adulterous affair between Thérèse, the wife of a clerk in a railway company, and a would-be painter named urent, whose work, rather like that of Zola's friend Paul Cézanne, is denigrated by the critics. In the eleventh chapter the milieu of Manet's Le Déjeuner sur l’herbe is evoked, in the murder scene, where Camille, the husband, goes out for the day with his wife and her lover to Saint-Ouen.On the wall is a reproduction of Manet's Olympia, a controversial painting at the 1865 Salon but which Zola considered Manet's best work. "Behind it is an engraving from Velazquez's Bacchus indicating the taste for Spanish art shared by the painter and the writer. A Japanese print of a wrestler by Utagawa Kuniaki II completes the décor."  A Japanese screen on the left of the picture recalls the role that the Far East played in revolutionizing ideas on perspective and colour in European painting.

Prompt: エミール・ゾラの肖像の抽象を説明してください。英語で出力して下さい。

Paul Cézanne
Thérèse Raquin
Édouard Manet
Émile Zola


section

エミール・ゾラの肖像

Portrait of Émile Zola is a painting of Émile Zola by Édouard Manet. Manet submitted the portrait to the 1868 Salon.At this time Zola was known for his art criticism, and perhaps particularly as the writer of the novel Thérèse Raquin.  This told the story of an adulterous affair between Thérèse, the wife of a clerk in a railway company, and a would-be painter named urent, whose work, rather like that of Zola's friend Paul Cézanne, is denigrated by the critics. In the eleventh chapter the milieu of Manet's Le Déjeuner sur l’herbe is evoked, in the murder scene, where Camille, the husband, goes out for the day with his wife and her lover to Saint-Ouen.On the wall is a reproduction of Manet's Olympia, a controversial painting at the 1865 Salon but which Zola considered Manet's best work. "Behind it is an engraving from Velazquez's Bacchus indicating the taste for Spanish art shared by the painter and the writer. A Japanese print of a wrestler by Utagawa Kuniaki II completes the décor."  A Japanese screen on the left of the picture recalls the role that the Far East played in revolutionizing ideas on perspective and colour in European painting.

Prompt: エミール・ゾラの肖像はどのように抽象を説明していますか？英語で出力して下さい。

Paul Cézanne
Thérèse Raquin
Édouard Manet
Émile Zola


section

エミール・ゾラの肖像

Portrait of Émile Zola is a painting of Émile Zola by Édouard Manet. Manet submitted the portrait to the 1868 Salon.At this time Zola was known for his art criticism, and perhaps particularly as the writer of the novel Thérèse Raquin.  This told the story of an adulterous affair between Thérèse, the wife of a clerk in a railway company, and a would-be painter named urent, whose work, rather like that of Zola's friend Paul Cézanne, is denigrated by the critics. In the eleventh chapter the milieu of Manet's Le Déjeuner sur l’herbe is evoked, in the murder scene, where Camille, the husband, goes out for the day with his wife and her lover to Saint-Ouen.On the wall is a reproduction of Manet's Olympia, a controversial painting at the 1865 Salon but which Zola considered Manet's best work. "Behind it is an engraving from Velazquez's Bacchus indicating the taste for Spanish art shared by the painter and the writer. A Japanese print of a wrestler by Utagawa Kuniaki II completes the décor."  A Japanese screen on the left of the picture recalls the role that the Far East played in revolutionizing ideas on perspective and colour in European painting.

Prompt: エミール・ゾラの肖像に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Paul Cézanne
Thérèse Raquin
Édouard Manet
Émile Zola


section

エミール・ゾラの肖像

Prompt: エミール・ゾラの肖像に焦点を当てて、その参照を説明してください。英語で出力して下さい。

List of paintings by Édouard Manet
Édouard Manet


section

エミール・ゾラの肖像

Prompt: エミール・ゾラの肖像の参照を説明してください。英語で出力して下さい。

List of paintings by Édouard Manet
Édouard Manet


section

エミール・ゾラの肖像

Prompt: エミール・ゾラの肖像はどのように参照を説明していますか？英語で出力して下さい。

List of paintings by Édouard Manet
Édouard Manet


section

エミール・ゾラの肖像

Prompt: エミール・ゾラの肖像に関して、どのように参照が議論されていますか？英語で出力して下さい。

List of paintings by Édouard Manet
Édouard Manet


section

プロセルピナ

Proserpine  is an oil painting on canvas by English artist and poet Dante Gabriel Rossetti, painted in 1874 and now in Tate Britain. Rossetti began work on the painting in 1871 and painted at least eight separate versions, the last only completed in 1882, the year of his death. Early versions were promised to Charles Augustus Howell. The painting discussed in this article is the so-called seventh version commissioned by Frederick Richards Leyland, now at the Tate Gallery, with the very similar final version now at the Birmingham Museum and Art Gallery.

Prompt: プロセルピナに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Birmingham Museum and Art Gallery
Charles Augustus Howell
Dante Gabriel Rossetti
English art
Frederick Richards Leyland
Tate Britain


section

プロセルピナ

Proserpine  is an oil painting on canvas by English artist and poet Dante Gabriel Rossetti, painted in 1874 and now in Tate Britain. Rossetti began work on the painting in 1871 and painted at least eight separate versions, the last only completed in 1882, the year of his death. Early versions were promised to Charles Augustus Howell. The painting discussed in this article is the so-called seventh version commissioned by Frederick Richards Leyland, now at the Tate Gallery, with the very similar final version now at the Birmingham Museum and Art Gallery.

Prompt: プロセルピナの抽象を説明してください。英語で出力して下さい。

Birmingham Museum and Art Gallery
Charles Augustus Howell
Dante Gabriel Rossetti
English art
Frederick Richards Leyland
Tate Britain


section

プロセルピナ

Proserpine  is an oil painting on canvas by English artist and poet Dante Gabriel Rossetti, painted in 1874 and now in Tate Britain. Rossetti began work on the painting in 1871 and painted at least eight separate versions, the last only completed in 1882, the year of his death. Early versions were promised to Charles Augustus Howell. The painting discussed in this article is the so-called seventh version commissioned by Frederick Richards Leyland, now at the Tate Gallery, with the very similar final version now at the Birmingham Museum and Art Gallery.

Prompt: プロセルピナ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。

Birmingham Museum and Art Gallery
Charles Augustus Howell
Dante Gabriel Rossetti
English art
Frederick Richards Leyland
Tate Britain


section

プロセルピナ

Proserpine  is an oil painting on canvas by English artist and poet Dante Gabriel Rossetti, painted in 1874 and now in Tate Britain. Rossetti began work on the painting in 1871 and painted at least eight separate versions, the last only completed in 1882, the year of his death. Early versions were promised to Charles Augustus Howell. The painting discussed in this article is the so-called seventh version commissioned by Frederick Richards Leyland, now at the Tate Gallery, with the very similar final version now at the Birmingham Museum and Art Gallery.

Prompt: プロセルピナに関して、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。

Birmingham Museum and Art Gallery
Charles Augustus Howell
Dante Gabriel Rossetti
English art
Frederick Richards Leyland
Tate Britain


section

プロセルピナ

In his Proserpine, the artist illustrates in his typical Pre-Raphaelite style the Roman goddess Proserpina who lives in the underworld during Winter. Although Rossetti inscribed the date 1874 on the picture, he worked for seven years on eight separate canvases before he finished with it. His Proserpine, like his model Jane Morris, is an exquisitely beautiful woman, with delicate facial features, slender hands, and flawlessly pale skin set off by her thick raven hair. Rossetti painted it at a time when his mental health was extremely precarious and his love for Jane Morris was at its most obsessive.Rossetti wrote about ProserpineUnable to decide as a young man whether to concentrate on painting or poetry, his work is infused with his poetic imagination and an individual interpretation of literary sources. His accompanying sonnet to this work is a poem of longing: "And still some heart unto some soul doth pine,"  carrying an inescapable allusion to his yearning to seduce Jane from her unhappy marriage with William Morris. Proserpine had been imprisoned in Pluto's underground realm for tasting the forbidden pomegranate. Jane, trapped by convention, was also tasting forbidden fruit.There is a deeper meaning in the painting as Rossetti stayed with Jane at Kelmscott Manor during the summer months each year and in winter she returned to stay with William Morris, thus paralleling Proserpine's freedom during summer.In Roman mythology, Proserpine, daughter of Jupiter and Ceres, was carried off to the Underworld  by Pluto, who married her despite her love for Adonis. When Ceres begged Jupiter to return her daughter to Earth, he agreed, on condition that Proserpine had not eaten any fruits in Hades. As Proserpine had eaten six pomegranate seeds, it was decreed that she should remain in Hades for six months of the year and be allowed on Earth for the other six.The symbolism in Rossetti's painting poignantly indicates Proserpine's plight, as well as Jane Morris's plight, torn between her husband, the father of her two adored daughters, and her lover. The pomegranate draws the viewer's eye, the colour of its flesh matching the colour of Proserpine's full lips. The ivy behind her, as Rossetti stated, represents clinging memory and the passing of time; the shadow on the wall is her time in Hades, the patch of sunlight, her glimpse of earth. Her dress, like spilling water, suggests the turning of the tides, and the incense burner denotes the subject as an immortal. Proserpine's saddened eyes, which are the same cold blue color as most of the painting, indirectly stare at the other realm. Overall, dark hues characterise the colour scheme of the piece.

Prompt: プロセルピナに焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Adonis
Hades
Jane Morris
Kelmscott Manor
Proserpina
Roman mythology
Underworld
William Morris


section

プロセルピナ

In his Proserpine, the artist illustrates in his typical Pre-Raphaelite style the Roman goddess Proserpina who lives in the underworld during Winter. Although Rossetti inscribed the date 1874 on the picture, he worked for seven years on eight separate canvases before he finished with it. His Proserpine, like his model Jane Morris, is an exquisitely beautiful woman, with delicate facial features, slender hands, and flawlessly pale skin set off by her thick raven hair. Rossetti painted it at a time when his mental health was extremely precarious and his love for Jane Morris was at its most obsessive.Rossetti wrote about ProserpineUnable to decide as a young man whether to concentrate on painting or poetry, his work is infused with his poetic imagination and an individual interpretation of literary sources. His accompanying sonnet to this work is a poem of longing: "And still some heart unto some soul doth pine,"  carrying an inescapable allusion to his yearning to seduce Jane from her unhappy marriage with William Morris. Proserpine had been imprisoned in Pluto's underground realm for tasting the forbidden pomegranate. Jane, trapped by convention, was also tasting forbidden fruit.There is a deeper meaning in the painting as Rossetti stayed with Jane at Kelmscott Manor during the summer months each year and in winter she returned to stay with William Morris, thus paralleling Proserpine's freedom during summer.In Roman mythology, Proserpine, daughter of Jupiter and Ceres, was carried off to the Underworld  by Pluto, who married her despite her love for Adonis. When Ceres begged Jupiter to return her daughter to Earth, he agreed, on condition that Proserpine had not eaten any fruits in Hades. As Proserpine had eaten six pomegranate seeds, it was decreed that she should remain in Hades for six months of the year and be allowed on Earth for the other six.The symbolism in Rossetti's painting poignantly indicates Proserpine's plight, as well as Jane Morris's plight, torn between her husband, the father of her two adored daughters, and her lover. The pomegranate draws the viewer's eye, the colour of its flesh matching the colour of Proserpine's full lips. The ivy behind her, as Rossetti stated, represents clinging memory and the passing of time; the shadow on the wall is her time in Hades, the patch of sunlight, her glimpse of earth. Her dress, like spilling water, suggests the turning of the tides, and the incense burner denotes the subject as an immortal. Proserpine's saddened eyes, which are the same cold blue color as most of the painting, indirectly stare at the other realm. Overall, dark hues characterise the colour scheme of the piece.

Prompt: プロセルピナの歴史を説明してください。英語で出力して下さい。

Adonis
Hades
Jane Morris
Kelmscott Manor
Proserpina
Roman mythology
Underworld
William Morris


section

プロセルピナ

In his Proserpine, the artist illustrates in his typical Pre-Raphaelite style the Roman goddess Proserpina who lives in the underworld during Winter. Although Rossetti inscribed the date 1874 on the picture, he worked for seven years on eight separate canvases before he finished with it. His Proserpine, like his model Jane Morris, is an exquisitely beautiful woman, with delicate facial features, slender hands, and flawlessly pale skin set off by her thick raven hair. Rossetti painted it at a time when his mental health was extremely precarious and his love for Jane Morris was at its most obsessive.Rossetti wrote about ProserpineUnable to decide as a young man whether to concentrate on painting or poetry, his work is infused with his poetic imagination and an individual interpretation of literary sources. His accompanying sonnet to this work is a poem of longing: "And still some heart unto some soul doth pine,"  carrying an inescapable allusion to his yearning to seduce Jane from her unhappy marriage with William Morris. Proserpine had been imprisoned in Pluto's underground realm for tasting the forbidden pomegranate. Jane, trapped by convention, was also tasting forbidden fruit.There is a deeper meaning in the painting as Rossetti stayed with Jane at Kelmscott Manor during the summer months each year and in winter she returned to stay with William Morris, thus paralleling Proserpine's freedom during summer.In Roman mythology, Proserpine, daughter of Jupiter and Ceres, was carried off to the Underworld  by Pluto, who married her despite her love for Adonis. When Ceres begged Jupiter to return her daughter to Earth, he agreed, on condition that Proserpine had not eaten any fruits in Hades. As Proserpine had eaten six pomegranate seeds, it was decreed that she should remain in Hades for six months of the year and be allowed on Earth for the other six.The symbolism in Rossetti's painting poignantly indicates Proserpine's plight, as well as Jane Morris's plight, torn between her husband, the father of her two adored daughters, and her lover. The pomegranate draws the viewer's eye, the colour of its flesh matching the colour of Proserpine's full lips. The ivy behind her, as Rossetti stated, represents clinging memory and the passing of time; the shadow on the wall is her time in Hades, the patch of sunlight, her glimpse of earth. Her dress, like spilling water, suggests the turning of the tides, and the incense burner denotes the subject as an immortal. Proserpine's saddened eyes, which are the same cold blue color as most of the painting, indirectly stare at the other realm. Overall, dark hues characterise the colour scheme of the piece.

Prompt: プロセルピナ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。

Adonis
Hades
Jane Morris
Kelmscott Manor
Proserpina
Roman mythology
Underworld
William Morris


section

プロセルピナ

In his Proserpine, the artist illustrates in his typical Pre-Raphaelite style the Roman goddess Proserpina who lives in the underworld during Winter. Although Rossetti inscribed the date 1874 on the picture, he worked for seven years on eight separate canvases before he finished with it. His Proserpine, like his model Jane Morris, is an exquisitely beautiful woman, with delicate facial features, slender hands, and flawlessly pale skin set off by her thick raven hair. Rossetti painted it at a time when his mental health was extremely precarious and his love for Jane Morris was at its most obsessive.Rossetti wrote about ProserpineUnable to decide as a young man whether to concentrate on painting or poetry, his work is infused with his poetic imagination and an individual interpretation of literary sources. His accompanying sonnet to this work is a poem of longing: "And still some heart unto some soul doth pine,"  carrying an inescapable allusion to his yearning to seduce Jane from her unhappy marriage with William Morris. Proserpine had been imprisoned in Pluto's underground realm for tasting the forbidden pomegranate. Jane, trapped by convention, was also tasting forbidden fruit.There is a deeper meaning in the painting as Rossetti stayed with Jane at Kelmscott Manor during the summer months each year and in winter she returned to stay with William Morris, thus paralleling Proserpine's freedom during summer.In Roman mythology, Proserpine, daughter of Jupiter and Ceres, was carried off to the Underworld  by Pluto, who married her despite her love for Adonis. When Ceres begged Jupiter to return her daughter to Earth, he agreed, on condition that Proserpine had not eaten any fruits in Hades. As Proserpine had eaten six pomegranate seeds, it was decreed that she should remain in Hades for six months of the year and be allowed on Earth for the other six.The symbolism in Rossetti's painting poignantly indicates Proserpine's plight, as well as Jane Morris's plight, torn between her husband, the father of her two adored daughters, and her lover. The pomegranate draws the viewer's eye, the colour of its flesh matching the colour of Proserpine's full lips. The ivy behind her, as Rossetti stated, represents clinging memory and the passing of time; the shadow on the wall is her time in Hades, the patch of sunlight, her glimpse of earth. Her dress, like spilling water, suggests the turning of the tides, and the incense burner denotes the subject as an immortal. Proserpine's saddened eyes, which are the same cold blue color as most of the painting, indirectly stare at the other realm. Overall, dark hues characterise the colour scheme of the piece.

Prompt: プロセルピナに関して、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。

Adonis
Hades
Jane Morris
Kelmscott Manor
Proserpina
Roman mythology
Underworld
William Morris


section

プロセルピナ

On the top right of the canvas "Proserpina" is inscribed by the artist, followed by his sonnet in Italian. The same sonnet in English is inscribed on the frame:The painting is signed and dated on a scroll at lower left: 'DANTE GABRIELE ROSSETTI RITRASSE NEL CAPODANNO DEL 1874'  . The frame, designed by Rossetti, has roundels which resemble a section of a pomegranate, reflecting the sliced pomegranate in Proserpine's hand.

Prompt: プロセルピナに焦点を当てて、その銘詩を説明してください。英語で出力して下さい。


section

プロセルピナ

On the top right of the canvas "Proserpina" is inscribed by the artist, followed by his sonnet in Italian. The same sonnet in English is inscribed on the frame:The painting is signed and dated on a scroll at lower left: 'DANTE GABRIELE ROSSETTI RITRASSE NEL CAPODANNO DEL 1874'  . The frame, designed by Rossetti, has roundels which resemble a section of a pomegranate, reflecting the sliced pomegranate in Proserpine's hand.

Prompt: プロセルピナの銘詩を説明してください。英語で出力して下さい。


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プロセルピナ

On the top right of the canvas "Proserpina" is inscribed by the artist, followed by his sonnet in Italian. The same sonnet in English is inscribed on the frame:The painting is signed and dated on a scroll at lower left: 'DANTE GABRIELE ROSSETTI RITRASSE NEL CAPODANNO DEL 1874'  . The frame, designed by Rossetti, has roundels which resemble a section of a pomegranate, reflecting the sliced pomegranate in Proserpine's hand.

Prompt: プロセルピナはどのように銘詩を説明していますか？英語で出力して下さい。


section

プロセルピナ

On the top right of the canvas "Proserpina" is inscribed by the artist, followed by his sonnet in Italian. The same sonnet in English is inscribed on the frame:The painting is signed and dated on a scroll at lower left: 'DANTE GABRIELE ROSSETTI RITRASSE NEL CAPODANNO DEL 1874'  . The frame, designed by Rossetti, has roundels which resemble a section of a pomegranate, reflecting the sliced pomegranate in Proserpine's hand.

Prompt: プロセルピナに関して、どのように銘詩が議論されていますか？英語で出力して下さい。


section

プロセルピナ

Prompt: プロセルピナに焦点を当てて、その表示を説明してください。英語で出力して下さい。


section

プロセルピナ

Prompt: プロセルピナの表示を説明してください。英語で出力して下さい。


section

プロセルピナ

Prompt: プロセルピナはどのように表示を説明していますか？英語で出力して下さい。


section

プロセルピナ

Prompt: プロセルピナに関して、どのように表示が議論されていますか？英語で出力して下さい。


section

プロセルピナ

Proserpina English art List of paintings by Dante Gabriel Rossetti Rossetti and His Circle by Max Beerbohm Rossetti-Polidori family tree

Prompt: プロセルピナに焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

プロセルピナ

Proserpina English art List of paintings by Dante Gabriel Rossetti Rossetti and His Circle by Max Beerbohm Rossetti-Polidori family tree

Prompt: プロセルピナの参照を説明してください。英語で出力して下さい。


section

プロセルピナ

Proserpina English art List of paintings by Dante Gabriel Rossetti Rossetti and His Circle by Max Beerbohm Rossetti-Polidori family tree

Prompt: プロセルピナ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

プロセルピナ

Proserpina English art List of paintings by Dante Gabriel Rossetti Rossetti and His Circle by Max Beerbohm Rossetti-Polidori family tree

Prompt: プロセルピナに関して、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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プロセルピナ

Ash, Russell.  Dante Gabriel Rossetti. London: Pavilion Books. Doughty, Oswald.  A Victorian Romantic: Dante Gabriel Rossetti  London: Frederick Muller. Fredeman, William E.   The correspondence of Dante Gabriel Rossetti. 7 Vols., Brewer, Cambridge. Hilto, Timoth.  The Pre-Raphelites. London: Thames and Hudson, New York: Abrams. Parris, Leslie   The Pre-Raphaelites, exhibition catalogue, London: Tate Gallery.  Surtees, Virginia.  Dante Gabriel Rossetti. 2 vols. Oxford: Clarendon Press. Todd, Pamela.  Pre-Raphaelites at Home, New York: Watson-Giptill Publications. Treuherz, Julian, Prettejohn, Elizabeth, and Becker, Edwin . Dante Gabriel Rossetti. London: Thames & Hudson.

Prompt: プロセルピナに焦点を当てて、そのさらなる読書を説明してください。英語で出力して下さい。


section

プロセルピナ

Ash, Russell.  Dante Gabriel Rossetti. London: Pavilion Books. Doughty, Oswald.  A Victorian Romantic: Dante Gabriel Rossetti  London: Frederick Muller. Fredeman, William E.   The correspondence of Dante Gabriel Rossetti. 7 Vols., Brewer, Cambridge. Hilto, Timoth.  The Pre-Raphelites. London: Thames and Hudson, New York: Abrams. Parris, Leslie   The Pre-Raphaelites, exhibition catalogue, London: Tate Gallery.  Surtees, Virginia.  Dante Gabriel Rossetti. 2 vols. Oxford: Clarendon Press. Todd, Pamela.  Pre-Raphaelites at Home, New York: Watson-Giptill Publications. Treuherz, Julian, Prettejohn, Elizabeth, and Becker, Edwin . Dante Gabriel Rossetti. London: Thames & Hudson.

Prompt: プロセルピナのさらなる読書を説明してください。英語で出力して下さい。


section

プロセルピナ

Ash, Russell.  Dante Gabriel Rossetti. London: Pavilion Books. Doughty, Oswald.  A Victorian Romantic: Dante Gabriel Rossetti  London: Frederick Muller. Fredeman, William E.   The correspondence of Dante Gabriel Rossetti. 7 Vols., Brewer, Cambridge. Hilto, Timoth.  The Pre-Raphelites. London: Thames and Hudson, New York: Abrams. Parris, Leslie   The Pre-Raphaelites, exhibition catalogue, London: Tate Gallery.  Surtees, Virginia.  Dante Gabriel Rossetti. 2 vols. Oxford: Clarendon Press. Todd, Pamela.  Pre-Raphaelites at Home, New York: Watson-Giptill Publications. Treuherz, Julian, Prettejohn, Elizabeth, and Becker, Edwin . Dante Gabriel Rossetti. London: Thames & Hudson.

Prompt: プロセルピナはどのようにさらなる読書を説明していますか？英語で出力して下さい。


section

プロセルピナ

Ash, Russell.  Dante Gabriel Rossetti. London: Pavilion Books. Doughty, Oswald.  A Victorian Romantic: Dante Gabriel Rossetti  London: Frederick Muller. Fredeman, William E.   The correspondence of Dante Gabriel Rossetti. 7 Vols., Brewer, Cambridge. Hilto, Timoth.  The Pre-Raphelites. London: Thames and Hudson, New York: Abrams. Parris, Leslie   The Pre-Raphaelites, exhibition catalogue, London: Tate Gallery.  Surtees, Virginia.  Dante Gabriel Rossetti. 2 vols. Oxford: Clarendon Press. Todd, Pamela.  Pre-Raphaelites at Home, New York: Watson-Giptill Publications. Treuherz, Julian, Prettejohn, Elizabeth, and Becker, Edwin . Dante Gabriel Rossetti. London: Thames & Hudson.

Prompt: プロセルピナに関して、どのようにさらなる読書が議論されていますか？英語で出力して下さい。


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農民の踊り

The Peasant Dance is an oil-on-panel by the Netherlandish Renaissance artist Pieter Bruegel the Elder, painted in circa 1567. It was looted by Napoleon Bonaparte and brought to Paris in 1808, being returned in 1815. In is now in the Kunsthistorisches Museum in Vienna.

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

Kunsthistorisches Museum
Napoleon
Paris
Pieter Bruegel the Elder
Vienna


section

農民の踊り

The Peasant Dance is an oil-on-panel by the Netherlandish Renaissance artist Pieter Bruegel the Elder, painted in circa 1567. It was looted by Napoleon Bonaparte and brought to Paris in 1808, being returned in 1815. In is now in the Kunsthistorisches Museum in Vienna.

Prompt: 農民の踊りの抽象を説明してください。英語で出力して下さい。

Kunsthistorisches Museum
Napoleon
Paris
Pieter Bruegel the Elder
Vienna


section

農民の踊り

The Peasant Dance is an oil-on-panel by the Netherlandish Renaissance artist Pieter Bruegel the Elder, painted in circa 1567. It was looted by Napoleon Bonaparte and brought to Paris in 1808, being returned in 1815. In is now in the Kunsthistorisches Museum in Vienna.

Prompt: 農民の踊りはどのように抽象を説明していますか？英語で出力して下さい。

Kunsthistorisches Museum
Napoleon
Paris
Pieter Bruegel the Elder
Vienna


section

農民の踊り

The Peasant Dance is an oil-on-panel by the Netherlandish Renaissance artist Pieter Bruegel the Elder, painted in circa 1567. It was looted by Napoleon Bonaparte and brought to Paris in 1808, being returned in 1815. In is now in the Kunsthistorisches Museum in Vienna.

Prompt: 農民の踊りに関して、どのように抽象が議論されていますか？英語で出力して下さい。

Kunsthistorisches Museum
Napoleon
Paris
Pieter Bruegel the Elder
Vienna


section

農民の踊り

The panel, neither signed nor dated, was painted circa 1567, at about the same time as The Peasant Wedding. The paintings are the same size and may have been intended as a pair or as part of a series illustrating peasant life. They are the two most outstanding examples of Bruegel's late style, which is characterized by his use of monumental Italianate figures.

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


section

農民の踊り

The panel, neither signed nor dated, was painted circa 1567, at about the same time as The Peasant Wedding. The paintings are the same size and may have been intended as a pair or as part of a series illustrating peasant life. They are the two most outstanding examples of Bruegel's late style, which is characterized by his use of monumental Italianate figures.

Prompt: 農民の踊りの説明を説明してください。英語で出力して下さい。


section

農民の踊り

The panel, neither signed nor dated, was painted circa 1567, at about the same time as The Peasant Wedding. The paintings are the same size and may have been intended as a pair or as part of a series illustrating peasant life. They are the two most outstanding examples of Bruegel's late style, which is characterized by his use of monumental Italianate figures.

Prompt: 農民の踊りはどのように説明を説明していますか？英語で出力して下さい。


section

農民の踊り

The panel, neither signed nor dated, was painted circa 1567, at about the same time as The Peasant Wedding. The paintings are the same size and may have been intended as a pair or as part of a series illustrating peasant life. They are the two most outstanding examples of Bruegel's late style, which is characterized by his use of monumental Italianate figures.

Prompt: 農民の踊りに関して、どのように説明が議論されていますか？英語で出力して下さい。


section

農民の踊り

List of paintings by Pieter Bruegel the Elder

Prompt: 農民の踊りに焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

農民の踊り

List of paintings by Pieter Bruegel the Elder

Prompt: 農民の踊りの参照を説明してください。英語で出力して下さい。


section

農民の踊り

List of paintings by Pieter Bruegel the Elder

Prompt: 農民の踊り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

農民の踊り

List of paintings by Pieter Bruegel the Elder

Prompt: 農民の踊りに関して、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

農民の踊り

Like The Peasant Wedding, it is likely that Bruegel intended this painting to have a moral sense rather than simply being an affectionate portrayal of peasant life. Gluttony, lust and anger can all be identified in the picture. The man seated next to the bagpipe player wears a peacock feather in his hat, a symbol of vanity and pride. The occasion for the peasants' revelry is a Saint's day, but dancers turn their backs on the church and pay no attention whatsoever to the image of the Virgin Mary which hangs on the tree. The prominence of the tavern makes it clear that they are preoccupied with material rather than spiritual matters.

Prompt: 農民の踊りの文脈で、象徴性と説明を説明してください。英語で出力して下さい。


subsection

農民の踊り

Like The Peasant Wedding, it is likely that Bruegel intended this painting to have a moral sense rather than simply being an affectionate portrayal of peasant life. Gluttony, lust and anger can all be identified in the picture. The man seated next to the bagpipe player wears a peacock feather in his hat, a symbol of vanity and pride. The occasion for the peasants' revelry is a Saint's day, but dancers turn their backs on the church and pay no attention whatsoever to the image of the Virgin Mary which hangs on the tree. The prominence of the tavern makes it clear that they are preoccupied with material rather than spiritual matters.

Prompt: 農民の踊りの説明に関する象徴性を説明してください。英語で出力して下さい。


subsection

農民の踊り

Like The Peasant Wedding, it is likely that Bruegel intended this painting to have a moral sense rather than simply being an affectionate portrayal of peasant life. Gluttony, lust and anger can all be identified in the picture. The man seated next to the bagpipe player wears a peacock feather in his hat, a symbol of vanity and pride. The occasion for the peasants' revelry is a Saint's day, but dancers turn their backs on the church and pay no attention whatsoever to the image of the Virgin Mary which hangs on the tree. The prominence of the tavern makes it clear that they are preoccupied with material rather than spiritual matters.

Prompt: 農民の踊りでは、どのように説明の象徴性が説明されていますか？英語で出力して下さい。


subsection

農民の踊り

Like The Peasant Wedding, it is likely that Bruegel intended this painting to have a moral sense rather than simply being an affectionate portrayal of peasant life. Gluttony, lust and anger can all be identified in the picture. The man seated next to the bagpipe player wears a peacock feather in his hat, a symbol of vanity and pride. The occasion for the peasants' revelry is a Saint's day, but dancers turn their backs on the church and pay no attention whatsoever to the image of the Virgin Mary which hangs on the tree. The prominence of the tavern makes it clear that they are preoccupied with material rather than spiritual matters.

Prompt: 農民の踊りの説明における象徴性の特徴を説明してください。英語で出力して下さい。


subsection

農民の踊り

The scene depicted in this painting is of an annual festival that was celebrated on the feast day of the village patron saint, and the big red flag hanging from the building on the left indicates that the festival is dedicated to St. George. The atmosphere of the painting mainly focuses on dancing, drinking, and music-making. creating a very fun and joyful feeling all around the painting.

Prompt: 農民の踊りの文脈で、理由、雰囲気と説明を説明してください。英語で出力して下さい。


subsection

農民の踊り

The scene depicted in this painting is of an annual festival that was celebrated on the feast day of the village patron saint, and the big red flag hanging from the building on the left indicates that the festival is dedicated to St. George. The atmosphere of the painting mainly focuses on dancing, drinking, and music-making. creating a very fun and joyful feeling all around the painting.

Prompt: 農民の踊りの説明に関する理由、雰囲気を説明してください。英語で出力して下さい。


subsection

農民の踊り

The scene depicted in this painting is of an annual festival that was celebrated on the feast day of the village patron saint, and the big red flag hanging from the building on the left indicates that the festival is dedicated to St. George. The atmosphere of the painting mainly focuses on dancing, drinking, and music-making. creating a very fun and joyful feeling all around the painting.

Prompt: 農民の踊りでは、どのように説明の理由、雰囲気が説明されていますか？英語で出力して下さい。


subsection

農民の踊り

The scene depicted in this painting is of an annual festival that was celebrated on the feast day of the village patron saint, and the big red flag hanging from the building on the left indicates that the festival is dedicated to St. George. The atmosphere of the painting mainly focuses on dancing, drinking, and music-making. creating a very fun and joyful feeling all around the painting.

Prompt: 農民の踊りの説明における理由、雰囲気の特徴を説明してください。英語で出力して下さい。


subsection

農民の踊り

On the left side of the painting, there are peasants sitting at a table with food and beer in front of the inn. There are a lot of interactions between the peasants there. They are either engaging with one another by inebriated exchange or physical affection towards one another.

Prompt: 農民の踊りの文脈で、絵の左側と説明を説明してください。英語で出力して下さい。


subsection

農民の踊り

On the left side of the painting, there are peasants sitting at a table with food and beer in front of the inn. There are a lot of interactions between the peasants there. They are either engaging with one another by inebriated exchange or physical affection towards one another.

Prompt: 農民の踊りの説明に関する絵の左側を説明してください。英語で出力して下さい。


subsection

農民の踊り

On the left side of the painting, there are peasants sitting at a table with food and beer in front of the inn. There are a lot of interactions between the peasants there. They are either engaging with one another by inebriated exchange or physical affection towards one another.

Prompt: 農民の踊りでは、どのように説明の絵の左側が説明されていますか？英語で出力して下さい。


subsection

農民の踊り

On the left side of the painting, there are peasants sitting at a table with food and beer in front of the inn. There are a lot of interactions between the peasants there. They are either engaging with one another by inebriated exchange or physical affection towards one another.

Prompt: 農民の踊りの説明における絵の左側の特徴を説明してください。英語で出力して下さい。


subsection

農民の踊り

On the right side of the painting, a couple is striding across the festival hand in hand within one another. Behind them in the middle ground, there are two other couples running together, hand in hand. The bagpiper is expanding his cheeks as he blows into the bagpipe, indicating the intensity of his tunes. The rough faces of all the figures painted in this art piece, particularly the large man in the center and those seated around the table, reveal teeth and facial expressions that visually communicate something of the unrefined or primitive quality of the peasant dance.

Prompt: 農民の踊りの文脈で、絵の右側と説明を説明してください。英語で出力して下さい。


subsection

農民の踊り

On the right side of the painting, a couple is striding across the festival hand in hand within one another. Behind them in the middle ground, there are two other couples running together, hand in hand. The bagpiper is expanding his cheeks as he blows into the bagpipe, indicating the intensity of his tunes. The rough faces of all the figures painted in this art piece, particularly the large man in the center and those seated around the table, reveal teeth and facial expressions that visually communicate something of the unrefined or primitive quality of the peasant dance.

Prompt: 農民の踊りの説明に関する絵の右側を説明してください。英語で出力して下さい。


subsection

農民の踊り

On the right side of the painting, a couple is striding across the festival hand in hand within one another. Behind them in the middle ground, there are two other couples running together, hand in hand. The bagpiper is expanding his cheeks as he blows into the bagpipe, indicating the intensity of his tunes. The rough faces of all the figures painted in this art piece, particularly the large man in the center and those seated around the table, reveal teeth and facial expressions that visually communicate something of the unrefined or primitive quality of the peasant dance.

Prompt: 農民の踊りでは、どのように説明の絵の右側が説明されていますか？英語で出力して下さい。


subsection

農民の踊り

On the right side of the painting, a couple is striding across the festival hand in hand within one another. Behind them in the middle ground, there are two other couples running together, hand in hand. The bagpiper is expanding his cheeks as he blows into the bagpipe, indicating the intensity of his tunes. The rough faces of all the figures painted in this art piece, particularly the large man in the center and those seated around the table, reveal teeth and facial expressions that visually communicate something of the unrefined or primitive quality of the peasant dance.

Prompt: 農民の踊りの説明における絵の右側の特徴を説明してください。英語で出力して下さい。


subsection

農民の踊り

The complex assembly of the figures on the right leads the beholder through a constellation of arms and legs; the couple's raised clasped hands in the middle ground form an arch that functions to both frame the recessional space below it as well as to echo and point towards the arches of the church in the background.To the left of the central peasant dressed in black in the foreground, a second recessional corridor invites the viewer into the fictive space of the painting. There is a cascade of faces, beginning with the profile of the central figure, then that of a peasant woman, then a man from the city, finally leading to a smiling jester in the distance.

Prompt: 農民の踊りの文脈で、動きの強調と説明を説明してください。英語で出力して下さい。


subsection

農民の踊り

The complex assembly of the figures on the right leads the beholder through a constellation of arms and legs; the couple's raised clasped hands in the middle ground form an arch that functions to both frame the recessional space below it as well as to echo and point towards the arches of the church in the background.To the left of the central peasant dressed in black in the foreground, a second recessional corridor invites the viewer into the fictive space of the painting. There is a cascade of faces, beginning with the profile of the central figure, then that of a peasant woman, then a man from the city, finally leading to a smiling jester in the distance.

Prompt: 農民の踊りの説明に関する動きの強調を説明してください。英語で出力して下さい。


subsection

農民の踊り

The complex assembly of the figures on the right leads the beholder through a constellation of arms and legs; the couple's raised clasped hands in the middle ground form an arch that functions to both frame the recessional space below it as well as to echo and point towards the arches of the church in the background.To the left of the central peasant dressed in black in the foreground, a second recessional corridor invites the viewer into the fictive space of the painting. There is a cascade of faces, beginning with the profile of the central figure, then that of a peasant woman, then a man from the city, finally leading to a smiling jester in the distance.

Prompt: 農民の踊りでは、どのように説明の動きの強調が説明されていますか？英語で出力して下さい。


subsection

農民の踊り

The complex assembly of the figures on the right leads the beholder through a constellation of arms and legs; the couple's raised clasped hands in the middle ground form an arch that functions to both frame the recessional space below it as well as to echo and point towards the arches of the church in the background.To the left of the central peasant dressed in black in the foreground, a second recessional corridor invites the viewer into the fictive space of the painting. There is a cascade of faces, beginning with the profile of the central figure, then that of a peasant woman, then a man from the city, finally leading to a smiling jester in the distance.

Prompt: 農民の踊りの説明における動きの強調の特徴を説明してください。英語で出力して下さい。


section

ベツレヘムの人口調査

The Census at Bethlehem  is an oil-on-panel by the Flemish Renaissance artist Pieter Bruegel the Elder, painted in 1566.  It is signed and measures about 1155 × 1645 mm.  It is currently held and exhibited at the Royal Museums of Fine Arts of Belgium in Brussels, which acquired it in 1902.  It is one of the first paintings in Western art to feature a significant snow landscape and was painted in the aftermath of the winter of 1565, which was one of the harshest winters on record.

Prompt: ベツレヘムの人口調査に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Belgium
Brussels
Pieter Bruegel the Elder
Royal Museums of Fine Arts of Belgium


section

ベツレヘムの人口調査

The Census at Bethlehem  is an oil-on-panel by the Flemish Renaissance artist Pieter Bruegel the Elder, painted in 1566.  It is signed and measures about 1155 × 1645 mm.  It is currently held and exhibited at the Royal Museums of Fine Arts of Belgium in Brussels, which acquired it in 1902.  It is one of the first paintings in Western art to feature a significant snow landscape and was painted in the aftermath of the winter of 1565, which was one of the harshest winters on record.

Prompt: ベツレヘムの人口調査の抽象を説明してください。英語で出力して下さい。

Belgium
Brussels
Pieter Bruegel the Elder
Royal Museums of Fine Arts of Belgium


section

ベツレヘムの人口調査

The Census at Bethlehem  is an oil-on-panel by the Flemish Renaissance artist Pieter Bruegel the Elder, painted in 1566.  It is signed and measures about 1155 × 1645 mm.  It is currently held and exhibited at the Royal Museums of Fine Arts of Belgium in Brussels, which acquired it in 1902.  It is one of the first paintings in Western art to feature a significant snow landscape and was painted in the aftermath of the winter of 1565, which was one of the harshest winters on record.

Prompt: ベツレヘムの人口調査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。

Belgium
Brussels
Pieter Bruegel the Elder
Royal Museums of Fine Arts of Belgium


section

ベツレヘムの人口調査

The Census at Bethlehem  is an oil-on-panel by the Flemish Renaissance artist Pieter Bruegel the Elder, painted in 1566.  It is signed and measures about 1155 × 1645 mm.  It is currently held and exhibited at the Royal Museums of Fine Arts of Belgium in Brussels, which acquired it in 1902.  It is one of the first paintings in Western art to feature a significant snow landscape and was painted in the aftermath of the winter of 1565, which was one of the harshest winters on record.

Prompt: ベツレヘムの人口調査に関して、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。

Belgium
Brussels
Pieter Bruegel the Elder
Royal Museums of Fine Arts of Belgium


section

ベツレヘムの人口調査

The painting shows Bethlehem as a Flemish village in winter at sundown.  A group of people is gathered at a building on the left, having their details taken down by a scribe. A sign bearing the Habsburg double-headed eagle is visible on the building.  Other people are making their way to the same building, including the figures of Joseph and the pregnant Virgin Mary on a donkey. A pig is being slaughtered, though of course such an event would never have occurred in Jewish Bethlehem. People are going about their daily business in the cold, children are shown playing with toys on the ice and having snowball fights.  At the very centre of the painting is a spoked wheel, sometimes interpreted as being a reference to the wheel of fortune.  To the right, a man in a small hut is shown holding a clapper, a warning to keep away from leprosy. Leprosy was endemic in that part of Europe when the painting was created. There is a begging bowl in front of the hut.  In the background, men drink at a makeshift bar, and in the distance are a well-kept church and a crumbling castle.As he often did, Bruegel treats a biblical story, here the census of Quirinius, as a contemporary event. And once again, reference to particular political events has been adduced - in this case, the severity of the Spanish administration in the southern Netherlands. However, Bruegel may well be making a more general criticism of bureaucratic methods.The events depicted are described in Luke 2, 1-5: This is a rare subject in previous Netherlandish art. The ruined castle in the background, at the painting's top right, is based on the towers and gates of Amsterdam.

Prompt: ベツレヘムの人口調査に焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

ベツレヘムの人口調査

The painting shows Bethlehem as a Flemish village in winter at sundown.  A group of people is gathered at a building on the left, having their details taken down by a scribe. A sign bearing the Habsburg double-headed eagle is visible on the building.  Other people are making their way to the same building, including the figures of Joseph and the pregnant Virgin Mary on a donkey. A pig is being slaughtered, though of course such an event would never have occurred in Jewish Bethlehem. People are going about their daily business in the cold, children are shown playing with toys on the ice and having snowball fights.  At the very centre of the painting is a spoked wheel, sometimes interpreted as being a reference to the wheel of fortune.  To the right, a man in a small hut is shown holding a clapper, a warning to keep away from leprosy. Leprosy was endemic in that part of Europe when the painting was created. There is a begging bowl in front of the hut.  In the background, men drink at a makeshift bar, and in the distance are a well-kept church and a crumbling castle.As he often did, Bruegel treats a biblical story, here the census of Quirinius, as a contemporary event. And once again, reference to particular political events has been adduced - in this case, the severity of the Spanish administration in the southern Netherlands. However, Bruegel may well be making a more general criticism of bureaucratic methods.The events depicted are described in Luke 2, 1-5: This is a rare subject in previous Netherlandish art. The ruined castle in the background, at the painting's top right, is based on the towers and gates of Amsterdam.

Prompt: ベツレヘムの人口調査の説明を説明してください。英語で出力して下さい。


section

ベツレヘムの人口調査

The painting shows Bethlehem as a Flemish village in winter at sundown.  A group of people is gathered at a building on the left, having their details taken down by a scribe. A sign bearing the Habsburg double-headed eagle is visible on the building.  Other people are making their way to the same building, including the figures of Joseph and the pregnant Virgin Mary on a donkey. A pig is being slaughtered, though of course such an event would never have occurred in Jewish Bethlehem. People are going about their daily business in the cold, children are shown playing with toys on the ice and having snowball fights.  At the very centre of the painting is a spoked wheel, sometimes interpreted as being a reference to the wheel of fortune.  To the right, a man in a small hut is shown holding a clapper, a warning to keep away from leprosy. Leprosy was endemic in that part of Europe when the painting was created. There is a begging bowl in front of the hut.  In the background, men drink at a makeshift bar, and in the distance are a well-kept church and a crumbling castle.As he often did, Bruegel treats a biblical story, here the census of Quirinius, as a contemporary event. And once again, reference to particular political events has been adduced - in this case, the severity of the Spanish administration in the southern Netherlands. However, Bruegel may well be making a more general criticism of bureaucratic methods.The events depicted are described in Luke 2, 1-5: This is a rare subject in previous Netherlandish art. The ruined castle in the background, at the painting's top right, is based on the towers and gates of Amsterdam.

Prompt: ベツレヘムの人口調査はどのように説明を説明していますか？英語で出力して下さい。


section

ベツレヘムの人口調査

The painting shows Bethlehem as a Flemish village in winter at sundown.  A group of people is gathered at a building on the left, having their details taken down by a scribe. A sign bearing the Habsburg double-headed eagle is visible on the building.  Other people are making their way to the same building, including the figures of Joseph and the pregnant Virgin Mary on a donkey. A pig is being slaughtered, though of course such an event would never have occurred in Jewish Bethlehem. People are going about their daily business in the cold, children are shown playing with toys on the ice and having snowball fights.  At the very centre of the painting is a spoked wheel, sometimes interpreted as being a reference to the wheel of fortune.  To the right, a man in a small hut is shown holding a clapper, a warning to keep away from leprosy. Leprosy was endemic in that part of Europe when the painting was created. There is a begging bowl in front of the hut.  In the background, men drink at a makeshift bar, and in the distance are a well-kept church and a crumbling castle.As he often did, Bruegel treats a biblical story, here the census of Quirinius, as a contemporary event. And once again, reference to particular political events has been adduced - in this case, the severity of the Spanish administration in the southern Netherlands. However, Bruegel may well be making a more general criticism of bureaucratic methods.The events depicted are described in Luke 2, 1-5: This is a rare subject in previous Netherlandish art. The ruined castle in the background, at the painting's top right, is based on the towers and gates of Amsterdam.

Prompt: ベツレヘムの人口調査に関して、どのように説明が議論されていますか？英語で出力して下さい。


section

ベツレヘムの人口調査

Pieter Brueghel the Younger and his studio made dozens of copies of the painting after his father's death, one of which was sold at auction for $10 million in 2013. Another copy, dated from 1610, is also at  Royal Museums of Fine Arts of Belgium in Brussels.

Prompt: ベツレヘムの人口調査に焦点を当てて、そのコピーを説明してください。英語で出力して下さい。

Belgium
Brussels
Pieter Brueghel the Younger
Royal Museums of Fine Arts of Belgium


section

ベツレヘムの人口調査

Pieter Brueghel the Younger and his studio made dozens of copies of the painting after his father's death, one of which was sold at auction for $10 million in 2013. Another copy, dated from 1610, is also at  Royal Museums of Fine Arts of Belgium in Brussels.

Prompt: ベツレヘムの人口調査のコピーを説明してください。英語で出力して下さい。

Belgium
Brussels
Pieter Brueghel the Younger
Royal Museums of Fine Arts of Belgium


section

ベツレヘムの人口調査

Pieter Brueghel the Younger and his studio made dozens of copies of the painting after his father's death, one of which was sold at auction for $10 million in 2013. Another copy, dated from 1610, is also at  Royal Museums of Fine Arts of Belgium in Brussels.

Prompt: ベツレヘムの人口調査はどのようにコピーを説明していますか？英語で出力して下さい。

Belgium
Brussels
Pieter Brueghel the Younger
Royal Museums of Fine Arts of Belgium


section

ベツレヘムの人口調査

Pieter Brueghel the Younger and his studio made dozens of copies of the painting after his father's death, one of which was sold at auction for $10 million in 2013. Another copy, dated from 1610, is also at  Royal Museums of Fine Arts of Belgium in Brussels.

Prompt: ベツレヘムの人口調査に関して、どのようにコピーが議論されていますか？英語で出力して下さい。

Belgium
Brussels
Pieter Brueghel the Younger
Royal Museums of Fine Arts of Belgium


section

ベツレヘムの人口調査

List of paintings by Pieter Bruegel the Elder Pieter Bruegel the Elder Pieter Brueghel the Younger

Prompt: ベツレヘムの人口調査に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

ベツレヘムの人口調査

List of paintings by Pieter Bruegel the Elder Pieter Bruegel the Elder Pieter Brueghel the Younger

Prompt: ベツレヘムの人口調査の参照を説明してください。英語で出力して下さい。


section

ベツレヘムの人口調査

List of paintings by Pieter Bruegel the Elder Pieter Bruegel the Elder Pieter Brueghel the Younger

Prompt: ベツレヘムの人口調査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

ベツレヘムの人口調査

List of paintings by Pieter Bruegel the Elder Pieter Bruegel the Elder Pieter Brueghel the Younger

Prompt: ベツレヘムの人口調査に関して、どのように参照が議論されていますか？英語で出力して下さい。


section

絵画の寓意としての自画像

Self-Portrait as the Allegory of Painting, also known as Autoritratto in veste di Pittura or simply  Pittura, was painted by the Italian Baroque artist Artemisia Gentileschi. The oil-on-canvas painting measures  and was probably produced during Gentileschi's stay in England between 1638 and 1639. It was in the collection of Charles I and was returned to the Royal Collection at the Restoration  and remains there.  In 2015 it was put on display in the "Cumberland Gallery" in Hampton Court Palace.The scene depicts Gentileschi painting herself, who is in turn represented as the “Allegory of Painting” illustrated by Cesare Ripa. It is now in the British Royal Collection.The painting demonstrates rare feminist themes from a time when women seldom held jobs, let alone were well known for them. Gentileschi's portrayal of herself as the epitome of the arts was a bold statement to make for the period, though the painting is today overshadowed by many of Gentileschi's other, more dramatic and raw scenes reflecting the artist's troubling younger years.That it is a self-portrait as well as an allegory was first proposed by Michael Levey in the 20th century, and is not universally accepted, as some art historians see the features of the figure here as too different from those in other portraits of the artist.

Prompt: 絵画の寓意としての自画像に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Allegory
Artemisia Gentileschi
Cesare Ripa
Hampton Court Palace
Michael Levey
Royal Collection


section

絵画の寓意としての自画像

Self-Portrait as the Allegory of Painting, also known as Autoritratto in veste di Pittura or simply  Pittura, was painted by the Italian Baroque artist Artemisia Gentileschi. The oil-on-canvas painting measures  and was probably produced during Gentileschi's stay in England between 1638 and 1639. It was in the collection of Charles I and was returned to the Royal Collection at the Restoration  and remains there.  In 2015 it was put on display in the "Cumberland Gallery" in Hampton Court Palace.The scene depicts Gentileschi painting herself, who is in turn represented as the “Allegory of Painting” illustrated by Cesare Ripa. It is now in the British Royal Collection.The painting demonstrates rare feminist themes from a time when women seldom held jobs, let alone were well known for them. Gentileschi's portrayal of herself as the epitome of the arts was a bold statement to make for the period, though the painting is today overshadowed by many of Gentileschi's other, more dramatic and raw scenes reflecting the artist's troubling younger years.That it is a self-portrait as well as an allegory was first proposed by Michael Levey in the 20th century, and is not universally accepted, as some art historians see the features of the figure here as too different from those in other portraits of the artist.

Prompt: 絵画の寓意としての自画像の抽象を説明してください。英語で出力して下さい。

Allegory
Artemisia Gentileschi
Cesare Ripa
Hampton Court Palace
Michael Levey
Royal Collection


section

絵画の寓意としての自画像

Self-Portrait as the Allegory of Painting, also known as Autoritratto in veste di Pittura or simply  Pittura, was painted by the Italian Baroque artist Artemisia Gentileschi. The oil-on-canvas painting measures  and was probably produced during Gentileschi's stay in England between 1638 and 1639. It was in the collection of Charles I and was returned to the Royal Collection at the Restoration  and remains there.  In 2015 it was put on display in the "Cumberland Gallery" in Hampton Court Palace.The scene depicts Gentileschi painting herself, who is in turn represented as the “Allegory of Painting” illustrated by Cesare Ripa. It is now in the British Royal Collection.The painting demonstrates rare feminist themes from a time when women seldom held jobs, let alone were well known for them. Gentileschi's portrayal of herself as the epitome of the arts was a bold statement to make for the period, though the painting is today overshadowed by many of Gentileschi's other, more dramatic and raw scenes reflecting the artist's troubling younger years.That it is a self-portrait as well as an allegory was first proposed by Michael Levey in the 20th century, and is not universally accepted, as some art historians see the features of the figure here as too different from those in other portraits of the artist.

Prompt: 絵画の寓意としての自画像はどのように抽象を説明していますか？英語で出力して下さい。

Allegory
Artemisia Gentileschi
Cesare Ripa
Hampton Court Palace
Michael Levey
Royal Collection


section

絵画の寓意としての自画像

Self-Portrait as the Allegory of Painting, also known as Autoritratto in veste di Pittura or simply  Pittura, was painted by the Italian Baroque artist Artemisia Gentileschi. The oil-on-canvas painting measures  and was probably produced during Gentileschi's stay in England between 1638 and 1639. It was in the collection of Charles I and was returned to the Royal Collection at the Restoration  and remains there.  In 2015 it was put on display in the "Cumberland Gallery" in Hampton Court Palace.The scene depicts Gentileschi painting herself, who is in turn represented as the “Allegory of Painting” illustrated by Cesare Ripa. It is now in the British Royal Collection.The painting demonstrates rare feminist themes from a time when women seldom held jobs, let alone were well known for them. Gentileschi's portrayal of herself as the epitome of the arts was a bold statement to make for the period, though the painting is today overshadowed by many of Gentileschi's other, more dramatic and raw scenes reflecting the artist's troubling younger years.That it is a self-portrait as well as an allegory was first proposed by Michael Levey in the 20th century, and is not universally accepted, as some art historians see the features of the figure here as too different from those in other portraits of the artist.

Prompt: 絵画の寓意としての自画像に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Allegory
Artemisia Gentileschi
Cesare Ripa
Hampton Court Palace
Michael Levey
Royal Collection


section

絵画の寓意としての自画像

Self-Portrait as the Allegory of Painting

Gentileschi was born in Rome in 1593, just at the start of Baroque painting.  Gentileschi's father, Orazio, was a well-known artist, and Artemisia trained in his workshop for a number of years before creating works herself. In the 1610s, Artemisia was raped by an older member of the workshop, Agostino Tassi, an event which coloured the rest of her life and is reflected in her art, which often shows subjects with a "Power of Women" themes such as  Judith Slaying Holofernes and Salome with the Head of St. John the Baptist. The artist's focus on her work, away from the viewer, highlights the drama of the Baroque period, and the changing role of the artist from craftsperson to singular innovator.Abstract concepts like "Painting" were traditionally represented by female allegorical figures, and therefore the painting was not one that any male painter could present in the same way, as both self-portrait and allegory.  The Self-Portrait was also influenced by the works of Cesare Ripa, most notably his Iconologia, in which he suggests how virtues and abstract concepts should be depicted, with human qualities and appearances.  Ripa said "Painting" should be shown as: “A beautiful woman, with full black hair, disheveled, and twisted in various ways, with arched eyebrows that show imaginative thought, the mouth covered with a cloth tied behind her ears, with a chain of gold at her throat from which hangs a mask, and has written in front "imitation." She holds in her hand a brush, and in the other the palette, with clothes of evanescently covered drapery.” Other than the cloth tied around the mouth, Gentileschi follows this prescription quite accurately.

Prompt: 絵画の寓意としての自画像に焦点を当てて、その歴史的文脈を説明してください。英語で出力して下さい。

Baroque painting
Cesare Ripa
Power of Women


section

絵画の寓意としての自画像

Self-Portrait as the Allegory of Painting

Gentileschi was born in Rome in 1593, just at the start of Baroque painting.  Gentileschi's father, Orazio, was a well-known artist, and Artemisia trained in his workshop for a number of years before creating works herself. In the 1610s, Artemisia was raped by an older member of the workshop, Agostino Tassi, an event which coloured the rest of her life and is reflected in her art, which often shows subjects with a "Power of Women" themes such as  Judith Slaying Holofernes and Salome with the Head of St. John the Baptist. The artist's focus on her work, away from the viewer, highlights the drama of the Baroque period, and the changing role of the artist from craftsperson to singular innovator.Abstract concepts like "Painting" were traditionally represented by female allegorical figures, and therefore the painting was not one that any male painter could present in the same way, as both self-portrait and allegory.  The Self-Portrait was also influenced by the works of Cesare Ripa, most notably his Iconologia, in which he suggests how virtues and abstract concepts should be depicted, with human qualities and appearances.  Ripa said "Painting" should be shown as: “A beautiful woman, with full black hair, disheveled, and twisted in various ways, with arched eyebrows that show imaginative thought, the mouth covered with a cloth tied behind her ears, with a chain of gold at her throat from which hangs a mask, and has written in front "imitation." She holds in her hand a brush, and in the other the palette, with clothes of evanescently covered drapery.” Other than the cloth tied around the mouth, Gentileschi follows this prescription quite accurately.

Prompt: 絵画の寓意としての自画像の歴史的文脈を説明してください。英語で出力して下さい。

Baroque painting
Cesare Ripa
Power of Women


section

絵画の寓意としての自画像

Self-Portrait as the Allegory of Painting

Gentileschi was born in Rome in 1593, just at the start of Baroque painting.  Gentileschi's father, Orazio, was a well-known artist, and Artemisia trained in his workshop for a number of years before creating works herself. In the 1610s, Artemisia was raped by an older member of the workshop, Agostino Tassi, an event which coloured the rest of her life and is reflected in her art, which often shows subjects with a "Power of Women" themes such as  Judith Slaying Holofernes and Salome with the Head of St. John the Baptist. The artist's focus on her work, away from the viewer, highlights the drama of the Baroque period, and the changing role of the artist from craftsperson to singular innovator.Abstract concepts like "Painting" were traditionally represented by female allegorical figures, and therefore the painting was not one that any male painter could present in the same way, as both self-portrait and allegory.  The Self-Portrait was also influenced by the works of Cesare Ripa, most notably his Iconologia, in which he suggests how virtues and abstract concepts should be depicted, with human qualities and appearances.  Ripa said "Painting" should be shown as: “A beautiful woman, with full black hair, disheveled, and twisted in various ways, with arched eyebrows that show imaginative thought, the mouth covered with a cloth tied behind her ears, with a chain of gold at her throat from which hangs a mask, and has written in front "imitation." She holds in her hand a brush, and in the other the palette, with clothes of evanescently covered drapery.” Other than the cloth tied around the mouth, Gentileschi follows this prescription quite accurately.

Prompt: 絵画の寓意としての自画像はどのように歴史的文脈を説明していますか？英語で出力して下さい。

Baroque painting
Cesare Ripa
Power of Women


section

絵画の寓意としての自画像

Self-Portrait as the Allegory of Painting

Gentileschi was born in Rome in 1593, just at the start of Baroque painting.  Gentileschi's father, Orazio, was a well-known artist, and Artemisia trained in his workshop for a number of years before creating works herself. In the 1610s, Artemisia was raped by an older member of the workshop, Agostino Tassi, an event which coloured the rest of her life and is reflected in her art, which often shows subjects with a "Power of Women" themes such as  Judith Slaying Holofernes and Salome with the Head of St. John the Baptist. The artist's focus on her work, away from the viewer, highlights the drama of the Baroque period, and the changing role of the artist from craftsperson to singular innovator.Abstract concepts like "Painting" were traditionally represented by female allegorical figures, and therefore the painting was not one that any male painter could present in the same way, as both self-portrait and allegory.  The Self-Portrait was also influenced by the works of Cesare Ripa, most notably his Iconologia, in which he suggests how virtues and abstract concepts should be depicted, with human qualities and appearances.  Ripa said "Painting" should be shown as: “A beautiful woman, with full black hair, disheveled, and twisted in various ways, with arched eyebrows that show imaginative thought, the mouth covered with a cloth tied behind her ears, with a chain of gold at her throat from which hangs a mask, and has written in front "imitation." She holds in her hand a brush, and in the other the palette, with clothes of evanescently covered drapery.” Other than the cloth tied around the mouth, Gentileschi follows this prescription quite accurately.

Prompt: 絵画の寓意としての自画像に関して、どのように歴史的文脈が議論されていますか？英語で出力して下さい。

Baroque painting
Cesare Ripa
Power of Women


section

絵画の寓意としての自画像

Self-Portrait as the Allegory of Painting

The composition of the painting mirrors other artworks of the time, using diagonal lines to flaunt the female figure and emphasize her movement both in toward the canvas and out towards the viewers. The use of foreshortening and other three-dimensional techniques not only demonstrate Gentileschi’s talent as an artist, but also bring the viewers into the painting on physical and emotional levels.The light is clearly coming from the left, but the source is not visible and is unusually harsh. The front of Gentileschi’s body is lit perfectly, but her back is obscured. Across the forehead and cheeks and down the side of the neck and left shoulder a clear line separates the light from the dark, a chiaroscuro technique which was used frequently during the Baroque era to add a sense of drama.The textural element, so important in Baroque paintings, is found in the wisps in the disheveled hair, the crinkles in the sleeve with spilled paint cracking near the wrist, and the dirty hands, which augment the painting's realism.Finally, the colour in the portrait is noteworthy, partially due to the lighting and partially due to the natural difference in tones. Whereas the darker clothing and background nearly seem to blend together, the pale skin of the face and right arm jump out immediately. The gold chain near the neck shimmers, while the chain near the chest  slowly dies down into a lacklustre brown. The thinness of the painting in the background gives the impression that the painting is unfinished, however a 1972 cleaning removed later overpainting to restore it to its earlier condition. The artist's initials are placed below the palette.

Prompt: 絵画の寓意としての自画像に焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

絵画の寓意としての自画像

Self-Portrait as the Allegory of Painting

The composition of the painting mirrors other artworks of the time, using diagonal lines to flaunt the female figure and emphasize her movement both in toward the canvas and out towards the viewers. The use of foreshortening and other three-dimensional techniques not only demonstrate Gentileschi’s talent as an artist, but also bring the viewers into the painting on physical and emotional levels.The light is clearly coming from the left, but the source is not visible and is unusually harsh. The front of Gentileschi’s body is lit perfectly, but her back is obscured. Across the forehead and cheeks and down the side of the neck and left shoulder a clear line separates the light from the dark, a chiaroscuro technique which was used frequently during the Baroque era to add a sense of drama.The textural element, so important in Baroque paintings, is found in the wisps in the disheveled hair, the crinkles in the sleeve with spilled paint cracking near the wrist, and the dirty hands, which augment the painting's realism.Finally, the colour in the portrait is noteworthy, partially due to the lighting and partially due to the natural difference in tones. Whereas the darker clothing and background nearly seem to blend together, the pale skin of the face and right arm jump out immediately. The gold chain near the neck shimmers, while the chain near the chest  slowly dies down into a lacklustre brown. The thinness of the painting in the background gives the impression that the painting is unfinished, however a 1972 cleaning removed later overpainting to restore it to its earlier condition. The artist's initials are placed below the palette.

Prompt: 絵画の寓意としての自画像の説明を説明してください。英語で出力して下さい。


section

絵画の寓意としての自画像

Self-Portrait as the Allegory of Painting

The composition of the painting mirrors other artworks of the time, using diagonal lines to flaunt the female figure and emphasize her movement both in toward the canvas and out towards the viewers. The use of foreshortening and other three-dimensional techniques not only demonstrate Gentileschi’s talent as an artist, but also bring the viewers into the painting on physical and emotional levels.The light is clearly coming from the left, but the source is not visible and is unusually harsh. The front of Gentileschi’s body is lit perfectly, but her back is obscured. Across the forehead and cheeks and down the side of the neck and left shoulder a clear line separates the light from the dark, a chiaroscuro technique which was used frequently during the Baroque era to add a sense of drama.The textural element, so important in Baroque paintings, is found in the wisps in the disheveled hair, the crinkles in the sleeve with spilled paint cracking near the wrist, and the dirty hands, which augment the painting's realism.Finally, the colour in the portrait is noteworthy, partially due to the lighting and partially due to the natural difference in tones. Whereas the darker clothing and background nearly seem to blend together, the pale skin of the face and right arm jump out immediately. The gold chain near the neck shimmers, while the chain near the chest  slowly dies down into a lacklustre brown. The thinness of the painting in the background gives the impression that the painting is unfinished, however a 1972 cleaning removed later overpainting to restore it to its earlier condition. The artist's initials are placed below the palette.

Prompt: 絵画の寓意としての自画像はどのように説明を説明していますか？英語で出力して下さい。


section

絵画の寓意としての自画像

Self-Portrait as the Allegory of Painting

The composition of the painting mirrors other artworks of the time, using diagonal lines to flaunt the female figure and emphasize her movement both in toward the canvas and out towards the viewers. The use of foreshortening and other three-dimensional techniques not only demonstrate Gentileschi’s talent as an artist, but also bring the viewers into the painting on physical and emotional levels.The light is clearly coming from the left, but the source is not visible and is unusually harsh. The front of Gentileschi’s body is lit perfectly, but her back is obscured. Across the forehead and cheeks and down the side of the neck and left shoulder a clear line separates the light from the dark, a chiaroscuro technique which was used frequently during the Baroque era to add a sense of drama.The textural element, so important in Baroque paintings, is found in the wisps in the disheveled hair, the crinkles in the sleeve with spilled paint cracking near the wrist, and the dirty hands, which augment the painting's realism.Finally, the colour in the portrait is noteworthy, partially due to the lighting and partially due to the natural difference in tones. Whereas the darker clothing and background nearly seem to blend together, the pale skin of the face and right arm jump out immediately. The gold chain near the neck shimmers, while the chain near the chest  slowly dies down into a lacklustre brown. The thinness of the painting in the background gives the impression that the painting is unfinished, however a 1972 cleaning removed later overpainting to restore it to its earlier condition. The artist's initials are placed below the palette.

Prompt: 絵画の寓意としての自画像に関して、どのように説明が議論されていますか？英語で出力して下さい。


section

絵画の寓意としての自画像

Self-Portrait as the Allegory of Painting

Because Ripa’s image of “Painting” took the form of a woman, Gentileschi could use the description to her advantage to paint herself in the best light as an artist. While being a female during the Baroque era was largely negative in terms of rights and lifestyle, Gentileschi found this gem in Iconologia to amp up her reputation. Additionally, although many of the idealized figures of women evoked salacious or suggestive ideas during this time, Gentileschi was able to successfully manipulate “Painting” to be empowering  to women.Gentileschi's depiction of herself as the Allegory of Painting has made her seem somewhat egotistical to some critics. Furthermore, as art historian Mary Garrard claims, only a woman artist could present herself in this way, as allegorical personifications were limited to female figures.

Prompt: 絵画の寓意としての自画像に焦点を当てて、その解釈を説明してください。英語で出力して下さい。


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絵画の寓意としての自画像

Self-Portrait as the Allegory of Painting

Because Ripa’s image of “Painting” took the form of a woman, Gentileschi could use the description to her advantage to paint herself in the best light as an artist. While being a female during the Baroque era was largely negative in terms of rights and lifestyle, Gentileschi found this gem in Iconologia to amp up her reputation. Additionally, although many of the idealized figures of women evoked salacious or suggestive ideas during this time, Gentileschi was able to successfully manipulate “Painting” to be empowering  to women.Gentileschi's depiction of herself as the Allegory of Painting has made her seem somewhat egotistical to some critics. Furthermore, as art historian Mary Garrard claims, only a woman artist could present herself in this way, as allegorical personifications were limited to female figures.

Prompt: 絵画の寓意としての自画像の解釈を説明してください。英語で出力して下さい。


section

絵画の寓意としての自画像

Self-Portrait as the Allegory of Painting

Because Ripa’s image of “Painting” took the form of a woman, Gentileschi could use the description to her advantage to paint herself in the best light as an artist. While being a female during the Baroque era was largely negative in terms of rights and lifestyle, Gentileschi found this gem in Iconologia to amp up her reputation. Additionally, although many of the idealized figures of women evoked salacious or suggestive ideas during this time, Gentileschi was able to successfully manipulate “Painting” to be empowering  to women.Gentileschi's depiction of herself as the Allegory of Painting has made her seem somewhat egotistical to some critics. Furthermore, as art historian Mary Garrard claims, only a woman artist could present herself in this way, as allegorical personifications were limited to female figures.

Prompt: 絵画の寓意としての自画像はどのように解釈を説明していますか？英語で出力して下さい。


section

絵画の寓意としての自画像

Self-Portrait as the Allegory of Painting

Because Ripa’s image of “Painting” took the form of a woman, Gentileschi could use the description to her advantage to paint herself in the best light as an artist. While being a female during the Baroque era was largely negative in terms of rights and lifestyle, Gentileschi found this gem in Iconologia to amp up her reputation. Additionally, although many of the idealized figures of women evoked salacious or suggestive ideas during this time, Gentileschi was able to successfully manipulate “Painting” to be empowering  to women.Gentileschi's depiction of herself as the Allegory of Painting has made her seem somewhat egotistical to some critics. Furthermore, as art historian Mary Garrard claims, only a woman artist could present herself in this way, as allegorical personifications were limited to female figures.

Prompt: 絵画の寓意としての自画像に関して、どのように解釈が議論されていますか？英語で出力して下さい。


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絵画の寓意としての自画像

Self-Portrait as the Allegory of Painting

The painting was created during Artemisia's trip to England and was subsequently acquired by King Charles I. During the dispersal of the royal collection, it came into the hands of John Jackson, a lawyer employed by Parliamentary creditors, as noted by a record from October 1651. The painting was reacquired for King Charles II by royalist Colonel William Hawley, during his post-Restoration campaign authorised by royal proclamation in August 1660.

Prompt: 絵画の寓意としての自画像に焦点を当てて、その起源を説明してください。英語で出力して下さい。


section

絵画の寓意としての自画像

Self-Portrait as the Allegory of Painting

The painting was created during Artemisia's trip to England and was subsequently acquired by King Charles I. During the dispersal of the royal collection, it came into the hands of John Jackson, a lawyer employed by Parliamentary creditors, as noted by a record from October 1651. The painting was reacquired for King Charles II by royalist Colonel William Hawley, during his post-Restoration campaign authorised by royal proclamation in August 1660.

Prompt: 絵画の寓意としての自画像の起源を説明してください。英語で出力して下さい。


section

絵画の寓意としての自画像

Self-Portrait as the Allegory of Painting

The painting was created during Artemisia's trip to England and was subsequently acquired by King Charles I. During the dispersal of the royal collection, it came into the hands of John Jackson, a lawyer employed by Parliamentary creditors, as noted by a record from October 1651. The painting was reacquired for King Charles II by royalist Colonel William Hawley, during his post-Restoration campaign authorised by royal proclamation in August 1660.

Prompt: 絵画の寓意としての自画像はどのように起源を説明していますか？英語で出力して下さい。


section

絵画の寓意としての自画像

Self-Portrait as the Allegory of Painting

The painting was created during Artemisia's trip to England and was subsequently acquired by King Charles I. During the dispersal of the royal collection, it came into the hands of John Jackson, a lawyer employed by Parliamentary creditors, as noted by a record from October 1651. The painting was reacquired for King Charles II by royalist Colonel William Hawley, during his post-Restoration campaign authorised by royal proclamation in August 1660.

Prompt: 絵画の寓意としての自画像に関して、どのように起源が議論されていますか？英語で出力して下さい。


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絵画の寓意としての自画像

Self-Portrait as the Allegory of Painting

Self-portraiture List of works by Artemisia Gentileschi

Prompt: 絵画の寓意としての自画像に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Artemisia Gentileschi
List of works by Artemisia Gentileschi
Self-portrait
Self-portraiture


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絵画の寓意としての自画像

Self-Portrait as the Allegory of Painting

Self-portraiture List of works by Artemisia Gentileschi

Prompt: 絵画の寓意としての自画像の参照を説明してください。英語で出力して下さい。

Artemisia Gentileschi
List of works by Artemisia Gentileschi
Self-portrait
Self-portraiture


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絵画の寓意としての自画像

Self-Portrait as the Allegory of Painting

Self-portraiture List of works by Artemisia Gentileschi

Prompt: 絵画の寓意としての自画像はどのように参照を説明していますか？英語で出力して下さい。

Artemisia Gentileschi
List of works by Artemisia Gentileschi
Self-portrait
Self-portraiture


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絵画の寓意としての自画像

Self-Portrait as the Allegory of Painting

Self-portraiture List of works by Artemisia Gentileschi

Prompt: 絵画の寓意としての自画像に関して、どのように参照が議論されていますか？英語で出力して下さい。

Artemisia Gentileschi
List of works by Artemisia Gentileschi
Self-portrait
Self-portraiture


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真珠と波

The Pearl and the Wave , also known as The Wave and the Pearl, is a painting by the French artist Paul-Jacques-Aimé Baudry created in 1862.  The painting shows a nude woman lying on the edge of a rocky sea shore, with her head turned to gaze backward over her shoulder towards the viewer. Waves are breaking in the background.The Pearl and the Wave was the subject of contemporary curiosity. Artist Kenyon Cox described The Pearl and the Wave as "the most perfect painting of the nude" in the 19th century.Art historian Bailey Van Hook identified The Pearl and the Wave as one of the examples of nude paintings where the subject woman is shown lying down sluggishly for the gratification of the looker-on who she describes as "voyeuristic viewer".In 1863, Empress consort Eugénie de Montijo bought the painting for 20,000 francs. It was her second most costly purchase of the paintings of that time. Today the painting is in the collection of the Museo del Prado in Madrid, the main Spanish national art museum.

Prompt: 真珠と波に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Eugénie de Montijo
Kenyon Cox
Madrid
Museo del Prado
Paul-Jacques-Aimé Baudry


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真珠と波

The Pearl and the Wave , also known as The Wave and the Pearl, is a painting by the French artist Paul-Jacques-Aimé Baudry created in 1862.  The painting shows a nude woman lying on the edge of a rocky sea shore, with her head turned to gaze backward over her shoulder towards the viewer. Waves are breaking in the background.The Pearl and the Wave was the subject of contemporary curiosity. Artist Kenyon Cox described The Pearl and the Wave as "the most perfect painting of the nude" in the 19th century.Art historian Bailey Van Hook identified The Pearl and the Wave as one of the examples of nude paintings where the subject woman is shown lying down sluggishly for the gratification of the looker-on who she describes as "voyeuristic viewer".In 1863, Empress consort Eugénie de Montijo bought the painting for 20,000 francs. It was her second most costly purchase of the paintings of that time. Today the painting is in the collection of the Museo del Prado in Madrid, the main Spanish national art museum.

Prompt: 真珠と波の抽象を説明してください。英語で出力して下さい。

Eugénie de Montijo
Kenyon Cox
Madrid
Museo del Prado
Paul-Jacques-Aimé Baudry


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真珠と波

The Pearl and the Wave , also known as The Wave and the Pearl, is a painting by the French artist Paul-Jacques-Aimé Baudry created in 1862.  The painting shows a nude woman lying on the edge of a rocky sea shore, with her head turned to gaze backward over her shoulder towards the viewer. Waves are breaking in the background.The Pearl and the Wave was the subject of contemporary curiosity. Artist Kenyon Cox described The Pearl and the Wave as "the most perfect painting of the nude" in the 19th century.Art historian Bailey Van Hook identified The Pearl and the Wave as one of the examples of nude paintings where the subject woman is shown lying down sluggishly for the gratification of the looker-on who she describes as "voyeuristic viewer".In 1863, Empress consort Eugénie de Montijo bought the painting for 20,000 francs. It was her second most costly purchase of the paintings of that time. Today the painting is in the collection of the Museo del Prado in Madrid, the main Spanish national art museum.

Prompt: 真珠と波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。

Eugénie de Montijo
Kenyon Cox
Madrid
Museo del Prado
Paul-Jacques-Aimé Baudry


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真珠と波

The Pearl and the Wave , also known as The Wave and the Pearl, is a painting by the French artist Paul-Jacques-Aimé Baudry created in 1862.  The painting shows a nude woman lying on the edge of a rocky sea shore, with her head turned to gaze backward over her shoulder towards the viewer. Waves are breaking in the background.The Pearl and the Wave was the subject of contemporary curiosity. Artist Kenyon Cox described The Pearl and the Wave as "the most perfect painting of the nude" in the 19th century.Art historian Bailey Van Hook identified The Pearl and the Wave as one of the examples of nude paintings where the subject woman is shown lying down sluggishly for the gratification of the looker-on who she describes as "voyeuristic viewer".In 1863, Empress consort Eugénie de Montijo bought the painting for 20,000 francs. It was her second most costly purchase of the paintings of that time. Today the painting is in the collection of the Museo del Prado in Madrid, the main Spanish national art museum.

Prompt: 真珠と波に関して、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。

Eugénie de Montijo
Kenyon Cox
Madrid
Museo del Prado
Paul-Jacques-Aimé Baudry


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白旗

--> catalogue          =  medium             = Encaustic movement           = subject            =  height_metric      = 198.9  width_metric       = 306.7 length_metric      =  diameter_metric    =  height_imperial    =   width_imperial     =  length_imperial    =  diameter_imperial  =  dimensions         =  dimensions_ref     =  metric_unit        = cm   imperial_unit      = in   weight             =  designation        =  condition          =  museum             = Metropolitan Museum of Art city               = New York coordinates        =   owner              =  accession          =  preceded_by        =   followed_by        =   module             =  website            =  }}White Flag is an encaustic painting by the American artist Jasper Johns. Created in 1955, soon after his first flag painting, entitled simply Flag, it was the first painting by Johns to be acquired by the Metropolitan Museum of Art, in New York, bought from the artist in 1998. The price was undisclosed but experts estimated its value at the time as more than $20 million.The painting is a relatively early example of the many works created by Johns from 1954, inspired by a dream of the U.S. flag.  Painted on canvas using encaustic, oil, newsprint, and charcoal, White Flag is the first monochrome rendering of the US flag by Johns.  Measuring  by , it is also the largest of his flag paintings.Johns worked on three separately stretched areas of canvas—the 48 stars to the upper left, seven of the thirteen stripes to the upper right, and the remaining six longer stripes below—which were then combined to form a whole.   The U.S. flag is depicted in the form it took between 1912 and 1959, with 48 white stars on a blue canton representing the then U.S. states  with thirteen red and white stripes.  The stars and stripes are built up as a collage of paper and fabric which were dipped in molten beeswax before being applied to a ground of beeswax.  The three collages were then joined together and covered with a layer of fast-setting dirty white encaustic , with highlights added in white oil paint.  Johns's rapid brushstrokes are clearly visible in the roughly-finished encaustic medium.  The completed work covers the whole of the canvas, with no frame.Johns's selection of the US flag allows him to explore a familiar two-dimensional object, with its simple internal geometric structure and a complex symbolic meaning.  The built-up collage distorts the flags flatness, while the off-white encaustic obliterates the flag's usual red-white-and-blue colouring, leaving a ghostly embalmed remnant.  Johns's Neo-Dada work anticipates aspects of pop art, minimal art, and conceptual art.The 1988 Christie's auction, selections from the Tremaine Collection, of a smaller version with a White Flag theme for USD$7 million was briefly the highest auction price for an artwork by a living artist,   as the record was supplanted the next day by another Johns painting.   This smaller version was shown in photographs by Louise wler documenting the artwork owners' interiors and its appearance in the 1988 auction.

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

Christie's
Jasper Johns
Metropolitan Museum of Art
Neo-Dada
U.S. state