section

ヤコポ・デ・バルバリ

His place and date of birth are unknown, but he was described as a Venetian by contemporaries, including Albrecht Dürer , and as 'old and weak' in 1511, so dates of between 1450 and 1470 have been proposed. Some believed that he was actually German-born before moving to Italy. However this belief is not conclusive and remains a hypothesis to researchers. Since the earlier date range would have him achieve sudden prominence at the age of nearly fifty, the later date range would seem more likely. He signed most of his engravings with a caduceus, the sign of Mercury, and the Munich Still-Life with Partridge and Gauntlets  with this below his name: "Jac.o de barbarj p 1504" on the painted piece of paper. He was probably not of the important Venetian Barbaro family as he was never listed in that family's genealogy.Nothing is known about his first decades, although Alvise Vivarini has been suggested as his master. He left Venice for Germany in 1500, and thereafter is better documented. There he worked for the Emperor Maximilian I in Nuremberg for a year, then in various places for Frederick the Wise of Saxony in 1503–5, before moving to the court of the Elector Joachim I of Brandenburg for about the years 1506–8. In Germany he was often known as "Jacop Walch", probably from "Wälsch" meaning foreigner, a term especially used for Italians.He may have returned to Venice with Philip the Handsome of Burgundy, for whom he  later worked in the Netherlands. By March 1510 he was working for Philip's successor Archduchess Margaret in Brussels and Mechelen. In January 1511 he fell ill and made a will, and in March the Archduchess gave him a pension for life, on account of his age and weakness . By 1516 he had died, leaving the Archduchess in possession of twenty-three engraving plates, which since many of his plates were probably engraved on both sides, means some engravings may not have survived.

Prompt: ヤコポ・デ・バルバリに関して、どのように人生が議論されていますか？英語で出力して下さい。

Albrecht Dürer
Alvise Vivarini
Barbaro family
Germany
Munich
Saxony
Still-Life with Partridge and Gauntlets
Venice


subsection

ヤコポ・デ・バルバリ

His earliest documented work is his huge  and impressive woodcut aerial view Map of Venice, for which a privilege was granted to its publisher in 1500, recording that the work had taken three years. This clearly drew on the work of many surveyors, but was a spectacular feat nonetheless, and caused a considerable stir from the first. It was later updated by others to reflect major new building projects in a second state of the print.Apart from the Map of Venice, he produced two other woodcuts, both of men and satyrs, which were the largest and most impressive figurative woodcuts yet produced, and which established the Italian tradition of fine, large, woodcuts for the following decades. These may have also been produced before 1500; they are clearly strongly influenced by Mantegna.The "Triumph of Men Over Satyrs," completed in the early 16th century was de' Barbari's other notable multi-block print highlighting various themes related to mythology. This three block print represents the scenes just after a battle - nude men and women walk towards a temple, showing the defeated satyrs bound as prisoners and carried in baskets. Multiple scholars such as Juergen Schulz and David ndau have suggested the connection with another woodcut titled, "Battle Between Satyrs and Men," wherein one of the placards in the later piece directly represents the battle scene from de' Barbari's earlier battle. Connections between the architecture of Venice in the background of the print relates to other paintings at the time such as the "Process in St. Mark's Square," completed by Gentile Bellini in 1496.

Prompt: ヤコポ・デ・バルバリの文脈で、ヴェネツィアの地図、他の木版画と人生を説明してください。英語で出力して下さい。


subsection

ヤコポ・デ・バルバリ

His earliest documented work is his huge  and impressive woodcut aerial view Map of Venice, for which a privilege was granted to its publisher in 1500, recording that the work had taken three years. This clearly drew on the work of many surveyors, but was a spectacular feat nonetheless, and caused a considerable stir from the first. It was later updated by others to reflect major new building projects in a second state of the print.Apart from the Map of Venice, he produced two other woodcuts, both of men and satyrs, which were the largest and most impressive figurative woodcuts yet produced, and which established the Italian tradition of fine, large, woodcuts for the following decades. These may have also been produced before 1500; they are clearly strongly influenced by Mantegna.The "Triumph of Men Over Satyrs," completed in the early 16th century was de' Barbari's other notable multi-block print highlighting various themes related to mythology. This three block print represents the scenes just after a battle - nude men and women walk towards a temple, showing the defeated satyrs bound as prisoners and carried in baskets. Multiple scholars such as Juergen Schulz and David ndau have suggested the connection with another woodcut titled, "Battle Between Satyrs and Men," wherein one of the placards in the later piece directly represents the battle scene from de' Barbari's earlier battle. Connections between the architecture of Venice in the background of the print relates to other paintings at the time such as the "Process in St. Mark's Square," completed by Gentile Bellini in 1496.

Prompt: ヤコポ・デ・バルバリの人生に関するヴェネツィアの地図、他の木版画を説明してください。英語で出力して下さい。


subsection

ヤコポ・デ・バルバリ

His earliest documented work is his huge  and impressive woodcut aerial view Map of Venice, for which a privilege was granted to its publisher in 1500, recording that the work had taken three years. This clearly drew on the work of many surveyors, but was a spectacular feat nonetheless, and caused a considerable stir from the first. It was later updated by others to reflect major new building projects in a second state of the print.Apart from the Map of Venice, he produced two other woodcuts, both of men and satyrs, which were the largest and most impressive figurative woodcuts yet produced, and which established the Italian tradition of fine, large, woodcuts for the following decades. These may have also been produced before 1500; they are clearly strongly influenced by Mantegna.The "Triumph of Men Over Satyrs," completed in the early 16th century was de' Barbari's other notable multi-block print highlighting various themes related to mythology. This three block print represents the scenes just after a battle - nude men and women walk towards a temple, showing the defeated satyrs bound as prisoners and carried in baskets. Multiple scholars such as Juergen Schulz and David ndau have suggested the connection with another woodcut titled, "Battle Between Satyrs and Men," wherein one of the placards in the later piece directly represents the battle scene from de' Barbari's earlier battle. Connections between the architecture of Venice in the background of the print relates to other paintings at the time such as the "Process in St. Mark's Square," completed by Gentile Bellini in 1496.

Prompt: ヤコポ・デ・バルバリでは、どのように人生のヴェネツィアの地図、他の木版画が説明されていますか？英語で出力して下さい。


subsection

ヤコポ・デ・バルバリ

His earliest documented work is his huge  and impressive woodcut aerial view Map of Venice, for which a privilege was granted to its publisher in 1500, recording that the work had taken three years. This clearly drew on the work of many surveyors, but was a spectacular feat nonetheless, and caused a considerable stir from the first. It was later updated by others to reflect major new building projects in a second state of the print.Apart from the Map of Venice, he produced two other woodcuts, both of men and satyrs, which were the largest and most impressive figurative woodcuts yet produced, and which established the Italian tradition of fine, large, woodcuts for the following decades. These may have also been produced before 1500; they are clearly strongly influenced by Mantegna.The "Triumph of Men Over Satyrs," completed in the early 16th century was de' Barbari's other notable multi-block print highlighting various themes related to mythology. This three block print represents the scenes just after a battle - nude men and women walk towards a temple, showing the defeated satyrs bound as prisoners and carried in baskets. Multiple scholars such as Juergen Schulz and David ndau have suggested the connection with another woodcut titled, "Battle Between Satyrs and Men," wherein one of the placards in the later piece directly represents the battle scene from de' Barbari's earlier battle. Connections between the architecture of Venice in the background of the print relates to other paintings at the time such as the "Process in St. Mark's Square," completed by Gentile Bellini in 1496.

Prompt: ヤコポ・デ・バルバリの人生におけるヴェネツィアの地図、他の木版画の特徴を説明してください。英語で出力して下さい。


subsection

ヤコポ・デ・バルバリ

By the time the Map of Venice was published de' Barbari had already left for Germany, where he met Dürer, who he may have already known from Dürer's first Italian trip . They discussed human proportion, not obviously one of de' Barbari's strengths, but Dürer was evidently fascinated by what he had to say, though he recorded that de' Barberi had not told him everything he knew:Twenty years later Dürer tried unsuccessfully to get the Archduchess Margaret, Habsburg Regent of the Netherlands, to give him a manuscript book she had on the subject by de' Barbari, by then dead; the book has not survived.

Prompt: ヤコポ・デ・バルバリの文脈で、デューラーとの接触と人生を説明してください。英語で出力して下さい。


subsection

ヤコポ・デ・バルバリ

By the time the Map of Venice was published de' Barbari had already left for Germany, where he met Dürer, who he may have already known from Dürer's first Italian trip . They discussed human proportion, not obviously one of de' Barbari's strengths, but Dürer was evidently fascinated by what he had to say, though he recorded that de' Barberi had not told him everything he knew:Twenty years later Dürer tried unsuccessfully to get the Archduchess Margaret, Habsburg Regent of the Netherlands, to give him a manuscript book she had on the subject by de' Barbari, by then dead; the book has not survived.

Prompt: ヤコポ・デ・バルバリの人生に関するデューラーとの接触を説明してください。英語で出力して下さい。


subsection

ヤコポ・デ・バルバリ

By the time the Map of Venice was published de' Barbari had already left for Germany, where he met Dürer, who he may have already known from Dürer's first Italian trip . They discussed human proportion, not obviously one of de' Barbari's strengths, but Dürer was evidently fascinated by what he had to say, though he recorded that de' Barberi had not told him everything he knew:Twenty years later Dürer tried unsuccessfully to get the Archduchess Margaret, Habsburg Regent of the Netherlands, to give him a manuscript book she had on the subject by de' Barbari, by then dead; the book has not survived.

Prompt: ヤコポ・デ・バルバリでは、どのように人生のデューラーとの接触が説明されていますか？英語で出力して下さい。


subsection

ヤコポ・デ・バルバリ

By the time the Map of Venice was published de' Barbari had already left for Germany, where he met Dürer, who he may have already known from Dürer's first Italian trip . They discussed human proportion, not obviously one of de' Barbari's strengths, but Dürer was evidently fascinated by what he had to say, though he recorded that de' Barberi had not told him everything he knew:Twenty years later Dürer tried unsuccessfully to get the Archduchess Margaret, Habsburg Regent of the Netherlands, to give him a manuscript book she had on the subject by de' Barbari, by then dead; the book has not survived.

Prompt: ヤコポ・デ・バルバリの人生におけるデューラーとの接触の特徴を説明してください。英語で出力して下さい。


subsection

ヤコポ・デ・バルバリ

De' Barberi spent a year in Nuremberg, where Dürer lived, in 1500–1, and influences flowed in both directions between him and Dürer for a number of years. None of his engravings are dated, so much of the dating of them depends on resemblances to dated prints by Dürer; this is complicated by uncertainty in some cases as to who was influencing whom. Five of his engravings were in an album of Hartmann Schedel's, which was bound up in December 1504, which gives further evidence as to dating. De' Barberi had probably made some engravings before leaving Italy, but his best engravings  were probably done after his move to Germany in 1500.Some of his paintings are dated as: 1500, 1503, 1504, 1508. Documents relating to his employment by Maximilian suggest his work was to include illuminating manuscripts, but no work in this medium has been generally attributed to him. His only generally accepted drawing is a Cleopatra in the British Museum, apparently done as a study for an engraving which has not survived.

Prompt: ヤコポ・デ・バルバリの文脈で、美術作品の年代測定と人生を説明してください。英語で出力して下さい。

British Museum
Cleopatra
Germany
Hartmann Schedel


subsection

ヤコポ・デ・バルバリ

De' Barberi spent a year in Nuremberg, where Dürer lived, in 1500–1, and influences flowed in both directions between him and Dürer for a number of years. None of his engravings are dated, so much of the dating of them depends on resemblances to dated prints by Dürer; this is complicated by uncertainty in some cases as to who was influencing whom. Five of his engravings were in an album of Hartmann Schedel's, which was bound up in December 1504, which gives further evidence as to dating. De' Barberi had probably made some engravings before leaving Italy, but his best engravings  were probably done after his move to Germany in 1500.Some of his paintings are dated as: 1500, 1503, 1504, 1508. Documents relating to his employment by Maximilian suggest his work was to include illuminating manuscripts, but no work in this medium has been generally attributed to him. His only generally accepted drawing is a Cleopatra in the British Museum, apparently done as a study for an engraving which has not survived.

Prompt: ヤコポ・デ・バルバリの人生に関する美術作品の年代測定を説明してください。英語で出力して下さい。

British Museum
Cleopatra
Germany
Hartmann Schedel


subsection

ヤコポ・デ・バルバリ

De' Barberi spent a year in Nuremberg, where Dürer lived, in 1500–1, and influences flowed in both directions between him and Dürer for a number of years. None of his engravings are dated, so much of the dating of them depends on resemblances to dated prints by Dürer; this is complicated by uncertainty in some cases as to who was influencing whom. Five of his engravings were in an album of Hartmann Schedel's, which was bound up in December 1504, which gives further evidence as to dating. De' Barberi had probably made some engravings before leaving Italy, but his best engravings  were probably done after his move to Germany in 1500.Some of his paintings are dated as: 1500, 1503, 1504, 1508. Documents relating to his employment by Maximilian suggest his work was to include illuminating manuscripts, but no work in this medium has been generally attributed to him. His only generally accepted drawing is a Cleopatra in the British Museum, apparently done as a study for an engraving which has not survived.

Prompt: ヤコポ・デ・バルバリでは、どのように人生の美術作品の年代測定が説明されていますか？英語で出力して下さい。

British Museum
Cleopatra
Germany
Hartmann Schedel


subsection

ヤコポ・デ・バルバリ

De' Barberi spent a year in Nuremberg, where Dürer lived, in 1500–1, and influences flowed in both directions between him and Dürer for a number of years. None of his engravings are dated, so much of the dating of them depends on resemblances to dated prints by Dürer; this is complicated by uncertainty in some cases as to who was influencing whom. Five of his engravings were in an album of Hartmann Schedel's, which was bound up in December 1504, which gives further evidence as to dating. De' Barberi had probably made some engravings before leaving Italy, but his best engravings  were probably done after his move to Germany in 1500.Some of his paintings are dated as: 1500, 1503, 1504, 1508. Documents relating to his employment by Maximilian suggest his work was to include illuminating manuscripts, but no work in this medium has been generally attributed to him. His only generally accepted drawing is a Cleopatra in the British Museum, apparently done as a study for an engraving which has not survived.

Prompt: ヤコポ・デ・バルバリの人生における美術作品の年代測定の特徴を説明してください。英語で出力して下さい。

British Museum
Cleopatra
Germany
Hartmann Schedel


subsection

ヤコポ・デ・バルバリ

His style is related to his possible master, Alvise Vivarini and to Giovanni Bellini, but has a languorous quality all its own. Apart from Dürer, the influence of Mantegna's technique also appears in what are probably the earlier engravings, done around the turn of the century, with parallel hatching. His engravings are mostly small, showing just a few figures. Truculent satyrs feature in several prints; there are a number of mythological subjects, including two Sacrifices to Priapus.The earlier prints show figures with "small heads and somewhat shapeless bodies, with sloping shoulders and thick torsos supported by slender legs" — also seen in his paintings. and the Three Bound Captives.  In these his ability to organise the whole composition has greatly improved.In a final group, the style becomes more Italianate, and the compositions more complex. These have an enigmatic, haunting atmosphere, and a very refined technique. Levenson has proposed that they date from his period in the Netherlands and were influenced by the young Lucas van Leyden. The transmission between the Netherlands and Venice during this time was also prominent as both regions were port cities booming with trade. As a result, not only were economies tied to one another, but art as well.

Prompt: ヤコポ・デ・バルバリの文脈で、彫刻と人生を説明してください。英語で出力して下さい。

Alvise Vivarini
Giovanni Bellini
Lucas van Leyden
Venice


subsection

ヤコポ・デ・バルバリ

His style is related to his possible master, Alvise Vivarini and to Giovanni Bellini, but has a languorous quality all its own. Apart from Dürer, the influence of Mantegna's technique also appears in what are probably the earlier engravings, done around the turn of the century, with parallel hatching. His engravings are mostly small, showing just a few figures. Truculent satyrs feature in several prints; there are a number of mythological subjects, including two Sacrifices to Priapus.The earlier prints show figures with "small heads and somewhat shapeless bodies, with sloping shoulders and thick torsos supported by slender legs" — also seen in his paintings. and the Three Bound Captives.  In these his ability to organise the whole composition has greatly improved.In a final group, the style becomes more Italianate, and the compositions more complex. These have an enigmatic, haunting atmosphere, and a very refined technique. Levenson has proposed that they date from his period in the Netherlands and were influenced by the young Lucas van Leyden. The transmission between the Netherlands and Venice during this time was also prominent as both regions were port cities booming with trade. As a result, not only were economies tied to one another, but art as well.

Prompt: ヤコポ・デ・バルバリの人生に関する彫刻を説明してください。英語で出力して下さい。

Alvise Vivarini
Giovanni Bellini
Lucas van Leyden
Venice


subsection

ヤコポ・デ・バルバリ

His style is related to his possible master, Alvise Vivarini and to Giovanni Bellini, but has a languorous quality all its own. Apart from Dürer, the influence of Mantegna's technique also appears in what are probably the earlier engravings, done around the turn of the century, with parallel hatching. His engravings are mostly small, showing just a few figures. Truculent satyrs feature in several prints; there are a number of mythological subjects, including two Sacrifices to Priapus.The earlier prints show figures with "small heads and somewhat shapeless bodies, with sloping shoulders and thick torsos supported by slender legs" — also seen in his paintings. and the Three Bound Captives.  In these his ability to organise the whole composition has greatly improved.In a final group, the style becomes more Italianate, and the compositions more complex. These have an enigmatic, haunting atmosphere, and a very refined technique. Levenson has proposed that they date from his period in the Netherlands and were influenced by the young Lucas van Leyden. The transmission between the Netherlands and Venice during this time was also prominent as both regions were port cities booming with trade. As a result, not only were economies tied to one another, but art as well.

Prompt: ヤコポ・デ・バルバリでは、どのように人生の彫刻が説明されていますか？英語で出力して下さい。

Alvise Vivarini
Giovanni Bellini
Lucas van Leyden
Venice


subsection

ヤコポ・デ・バルバリ

His style is related to his possible master, Alvise Vivarini and to Giovanni Bellini, but has a languorous quality all its own. Apart from Dürer, the influence of Mantegna's technique also appears in what are probably the earlier engravings, done around the turn of the century, with parallel hatching. His engravings are mostly small, showing just a few figures. Truculent satyrs feature in several prints; there are a number of mythological subjects, including two Sacrifices to Priapus.The earlier prints show figures with "small heads and somewhat shapeless bodies, with sloping shoulders and thick torsos supported by slender legs" — also seen in his paintings. and the Three Bound Captives.  In these his ability to organise the whole composition has greatly improved.In a final group, the style becomes more Italianate, and the compositions more complex. These have an enigmatic, haunting atmosphere, and a very refined technique. Levenson has proposed that they date from his period in the Netherlands and were influenced by the young Lucas van Leyden. The transmission between the Netherlands and Venice during this time was also prominent as both regions were port cities booming with trade. As a result, not only were economies tied to one another, but art as well.

Prompt: ヤコポ・デ・バルバリの人生における彫刻の特徴を説明してください。英語で出力して下さい。

Alvise Vivarini
Giovanni Bellini
Lucas van Leyden
Venice


subsection

ヤコポ・デ・バルバリ

His paintings are mostly portraits or half-length groups of religious figures. He painted a live Sparrowhawk, which is probably a fragment of a larger work. The very early still-life of a Still-Life with Partridge and Gauntlets  is often called the first small scale trompe-l'œil painting since antiquity; it may well have been the cover or reverse of a portrait . In the Gemäldegalerie, Berlin there is a Portrait of a German Man and a religious subject. The Louvre has a religious group, and Philadelphia a pair of figures.A disputed but famous work, the Portrait of Fra Luca Pacioli is in the Museo di Capodimonte in Naples. This shows the Franciscan mathematician and expert on perspective demonstrating geometry at a table on which lie his own Summa and a work by Euclid. He is accompanied by a not clearly identified student. The work is signed "IACO. BAR VIGEN/NIS 1495". Jacopo de' Barbari is attributed a Christ Blessing displayed at the Snite Museum of Art in Notre Dame University, Indiana.

Prompt: ヤコポ・デ・バルバリの文脈で、絵画と人生を説明してください。英語で出力して下さい。

Euclid
Gemäldegalerie, Berlin
Louvre
Luca Pacioli
Museo di Capodimonte
Naples
Snite Museum of Art
Still-Life with Partridge and Gauntlets


subsection

ヤコポ・デ・バルバリ

His paintings are mostly portraits or half-length groups of religious figures. He painted a live Sparrowhawk, which is probably a fragment of a larger work. The very early still-life of a Still-Life with Partridge and Gauntlets  is often called the first small scale trompe-l'œil painting since antiquity; it may well have been the cover or reverse of a portrait . In the Gemäldegalerie, Berlin there is a Portrait of a German Man and a religious subject. The Louvre has a religious group, and Philadelphia a pair of figures.A disputed but famous work, the Portrait of Fra Luca Pacioli is in the Museo di Capodimonte in Naples. This shows the Franciscan mathematician and expert on perspective demonstrating geometry at a table on which lie his own Summa and a work by Euclid. He is accompanied by a not clearly identified student. The work is signed "IACO. BAR VIGEN/NIS 1495". Jacopo de' Barbari is attributed a Christ Blessing displayed at the Snite Museum of Art in Notre Dame University, Indiana.

Prompt: ヤコポ・デ・バルバリの人生に関する絵画を説明してください。英語で出力して下さい。

Euclid
Gemäldegalerie, Berlin
Louvre
Luca Pacioli
Museo di Capodimonte
Naples
Snite Museum of Art
Still-Life with Partridge and Gauntlets


subsection

ヤコポ・デ・バルバリ

His paintings are mostly portraits or half-length groups of religious figures. He painted a live Sparrowhawk, which is probably a fragment of a larger work. The very early still-life of a Still-Life with Partridge and Gauntlets  is often called the first small scale trompe-l'œil painting since antiquity; it may well have been the cover or reverse of a portrait . In the Gemäldegalerie, Berlin there is a Portrait of a German Man and a religious subject. The Louvre has a religious group, and Philadelphia a pair of figures.A disputed but famous work, the Portrait of Fra Luca Pacioli is in the Museo di Capodimonte in Naples. This shows the Franciscan mathematician and expert on perspective demonstrating geometry at a table on which lie his own Summa and a work by Euclid. He is accompanied by a not clearly identified student. The work is signed "IACO. BAR VIGEN/NIS 1495". Jacopo de' Barbari is attributed a Christ Blessing displayed at the Snite Museum of Art in Notre Dame University, Indiana.

Prompt: ヤコポ・デ・バルバリでは、どのように人生の絵画が説明されていますか？英語で出力して下さい。

Euclid
Gemäldegalerie, Berlin
Louvre
Luca Pacioli
Museo di Capodimonte
Naples
Snite Museum of Art
Still-Life with Partridge and Gauntlets


subsection

ヤコポ・デ・バルバリ

His paintings are mostly portraits or half-length groups of religious figures. He painted a live Sparrowhawk, which is probably a fragment of a larger work. The very early still-life of a Still-Life with Partridge and Gauntlets  is often called the first small scale trompe-l'œil painting since antiquity; it may well have been the cover or reverse of a portrait . In the Gemäldegalerie, Berlin there is a Portrait of a German Man and a religious subject. The Louvre has a religious group, and Philadelphia a pair of figures.A disputed but famous work, the Portrait of Fra Luca Pacioli is in the Museo di Capodimonte in Naples. This shows the Franciscan mathematician and expert on perspective demonstrating geometry at a table on which lie his own Summa and a work by Euclid. He is accompanied by a not clearly identified student. The work is signed "IACO. BAR VIGEN/NIS 1495". Jacopo de' Barbari is attributed a Christ Blessing displayed at the Snite Museum of Art in Notre Dame University, Indiana.

Prompt: ヤコポ・デ・バルバリの人生における絵画の特徴を説明してください。英語で出力して下さい。

Euclid
Gemäldegalerie, Berlin
Louvre
Luca Pacioli
Museo di Capodimonte
Naples
Snite Museum of Art
Still-Life with Partridge and Gauntlets


section

インノケンティウス10世の肖像

Portrait of Pope Innocent X is an oil on canvas portrait by the Spanish painter Diego Velázquez, created during a trip to Italy around 1650. Many artists and art critics consider it the finest portrait ever created. It is housed in the Galleria Doria Pamphilj in Rome. A smaller version is held by the Metropolitan Museum of Art in New York, and a study is on display at Apsley House in London. The painting is noted for its realism as an unflinching portrait of a highly intelligent, shrewd, and aging man. He is dressed in linen vestments, and the quality of the work is evident in the rich reds of his upper clothing, head-dress, and the hanging curtains.The pope, born Giovanni Battista Pamphilj, was initially wary of sitting for Velázquez, but relented after he was shown reproductions of portraits by the artist. A contributing factor for this large advancement in the painter's career was that he had already depicted a number of members of Pamphilj's inner court. The pope, however, remained cautious, and the painting was initially displayed only to his immediate family, and was largely lost from public view through the 17th and 18th centuries.

Prompt: インノケンティウス10世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。

Apsley House
Diego Velázquez
Pope Innocent X
Metropolitan Museum of Art
Pope Innocent X
Rome


section

インノケンティウス10世の肖像

Portrait of Pope Innocent X is an oil on canvas portrait by the Spanish painter Diego Velázquez, created during a trip to Italy around 1650. Many artists and art critics consider it the finest portrait ever created. It is housed in the Galleria Doria Pamphilj in Rome. A smaller version is held by the Metropolitan Museum of Art in New York, and a study is on display at Apsley House in London. The painting is noted for its realism as an unflinching portrait of a highly intelligent, shrewd, and aging man. He is dressed in linen vestments, and the quality of the work is evident in the rich reds of his upper clothing, head-dress, and the hanging curtains.The pope, born Giovanni Battista Pamphilj, was initially wary of sitting for Velázquez, but relented after he was shown reproductions of portraits by the artist. A contributing factor for this large advancement in the painter's career was that he had already depicted a number of members of Pamphilj's inner court. The pope, however, remained cautious, and the painting was initially displayed only to his immediate family, and was largely lost from public view through the 17th and 18th centuries.

Prompt: インノケンティウス10世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。

Apsley House
Diego Velázquez
Pope Innocent X
Metropolitan Museum of Art
Pope Innocent X
Rome


section

インノケンティウス10世の肖像

Portrait of Pope Innocent X is an oil on canvas portrait by the Spanish painter Diego Velázquez, created during a trip to Italy around 1650. Many artists and art critics consider it the finest portrait ever created. It is housed in the Galleria Doria Pamphilj in Rome. A smaller version is held by the Metropolitan Museum of Art in New York, and a study is on display at Apsley House in London. The painting is noted for its realism as an unflinching portrait of a highly intelligent, shrewd, and aging man. He is dressed in linen vestments, and the quality of the work is evident in the rich reds of his upper clothing, head-dress, and the hanging curtains.The pope, born Giovanni Battista Pamphilj, was initially wary of sitting for Velázquez, but relented after he was shown reproductions of portraits by the artist. A contributing factor for this large advancement in the painter's career was that he had already depicted a number of members of Pamphilj's inner court. The pope, however, remained cautious, and the painting was initially displayed only to his immediate family, and was largely lost from public view through the 17th and 18th centuries.

Prompt: インノケンティウス10世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。

Apsley House
Diego Velázquez
Pope Innocent X
Metropolitan Museum of Art
Pope Innocent X
Rome


section

インノケンティウス10世の肖像

Portrait of Pope Innocent X is an oil on canvas portrait by the Spanish painter Diego Velázquez, created during a trip to Italy around 1650. Many artists and art critics consider it the finest portrait ever created. It is housed in the Galleria Doria Pamphilj in Rome. A smaller version is held by the Metropolitan Museum of Art in New York, and a study is on display at Apsley House in London. The painting is noted for its realism as an unflinching portrait of a highly intelligent, shrewd, and aging man. He is dressed in linen vestments, and the quality of the work is evident in the rich reds of his upper clothing, head-dress, and the hanging curtains.The pope, born Giovanni Battista Pamphilj, was initially wary of sitting for Velázquez, but relented after he was shown reproductions of portraits by the artist. A contributing factor for this large advancement in the painter's career was that he had already depicted a number of members of Pamphilj's inner court. The pope, however, remained cautious, and the painting was initially displayed only to his immediate family, and was largely lost from public view through the 17th and 18th centuries.

Prompt: インノケンティウス10世の肖像に関して、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。

Apsley House
Diego Velázquez
Pope Innocent X
Metropolitan Museum of Art
Pope Innocent X
Rome


section

インノケンティウス10世の肖像

The portrait was painted during Velázquez's second voyage to Italy, between 1649 and 1651. The subject's vestments are of light linen, suggesting that the picture was probably painted during summer, most likely in 1650. Velázquez included his signature on the paper in the pope's hands, but the date is not readable. There are two versions of the story of how Velázquez came to paint the portrait. According to one of these, while visiting Rome, Velázquez, already a renowned painter, was granted an audience with Pope Innocent X. He offered to paint a portrait of the pope, but Innocent X mistrusted Velázquez's fame, and asked for proof of Veláquez's skills. It would have been then that Velázquez painted the portrait of his servant Juan de Pareja . Once Innocent saw that portrait, he agreed to sit for the artist.leftApparently, when the pope saw the finished portrait, he exclaimed: "È troppo vero! È troppo vero!" , though he did not deny the extraordinary quality of the portrait. Experts doubt the veracity of this story, and argue that the pope allowed Velázquez to paint him because he had already painted with great success other people from the inner papal court, including the pope's barber.The portrait was kept at private display by Innocent's family, the Pamphilj, who would display it in the Doria Pamphilj Gallery where it remains to this day. For much of the 17th and 18th centuries, it was a relatively unknown work, familiar only to a few connoisseurs who regarded it to be one of the finest portraits ever. French historian Hippolyte Taine considered the portrait as "the masterpiece amongst all portraits" and said "once it has been seen, it is impossible to forget".The art dealer René Gimpel noted in his diary in 1923 "Morgan would have offered a million dollars for it. Velázquez was faced with a ruddy Italian, and the artist, accustomed to the pale complexions of his country, unhesitatingly steeped his brush in red the color of wine and brought the bon vivant devastatingly to life.... That face is a whirlpool of flesh, and blood, and life; the eyes are searching."

Prompt: インノケンティウス10世の肖像に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Doria Pamphilj Gallery
Doria Pamphilj Gallery
Pope Innocent X
Hippolyte Taine
Pope Innocent X
René Gimpel
Rome


section

インノケンティウス10世の肖像

The portrait was painted during Velázquez's second voyage to Italy, between 1649 and 1651. The subject's vestments are of light linen, suggesting that the picture was probably painted during summer, most likely in 1650. Velázquez included his signature on the paper in the pope's hands, but the date is not readable. There are two versions of the story of how Velázquez came to paint the portrait. According to one of these, while visiting Rome, Velázquez, already a renowned painter, was granted an audience with Pope Innocent X. He offered to paint a portrait of the pope, but Innocent X mistrusted Velázquez's fame, and asked for proof of Veláquez's skills. It would have been then that Velázquez painted the portrait of his servant Juan de Pareja . Once Innocent saw that portrait, he agreed to sit for the artist.leftApparently, when the pope saw the finished portrait, he exclaimed: "È troppo vero! È troppo vero!" , though he did not deny the extraordinary quality of the portrait. Experts doubt the veracity of this story, and argue that the pope allowed Velázquez to paint him because he had already painted with great success other people from the inner papal court, including the pope's barber.The portrait was kept at private display by Innocent's family, the Pamphilj, who would display it in the Doria Pamphilj Gallery where it remains to this day. For much of the 17th and 18th centuries, it was a relatively unknown work, familiar only to a few connoisseurs who regarded it to be one of the finest portraits ever. French historian Hippolyte Taine considered the portrait as "the masterpiece amongst all portraits" and said "once it has been seen, it is impossible to forget".The art dealer René Gimpel noted in his diary in 1923 "Morgan would have offered a million dollars for it. Velázquez was faced with a ruddy Italian, and the artist, accustomed to the pale complexions of his country, unhesitatingly steeped his brush in red the color of wine and brought the bon vivant devastatingly to life.... That face is a whirlpool of flesh, and blood, and life; the eyes are searching."

Prompt: インノケンティウス10世の肖像の歴史を説明してください。英語で出力して下さい。

Doria Pamphilj Gallery
Doria Pamphilj Gallery
Pope Innocent X
Hippolyte Taine
Pope Innocent X
René Gimpel
Rome


section

インノケンティウス10世の肖像

The portrait was painted during Velázquez's second voyage to Italy, between 1649 and 1651. The subject's vestments are of light linen, suggesting that the picture was probably painted during summer, most likely in 1650. Velázquez included his signature on the paper in the pope's hands, but the date is not readable. There are two versions of the story of how Velázquez came to paint the portrait. According to one of these, while visiting Rome, Velázquez, already a renowned painter, was granted an audience with Pope Innocent X. He offered to paint a portrait of the pope, but Innocent X mistrusted Velázquez's fame, and asked for proof of Veláquez's skills. It would have been then that Velázquez painted the portrait of his servant Juan de Pareja . Once Innocent saw that portrait, he agreed to sit for the artist.leftApparently, when the pope saw the finished portrait, he exclaimed: "È troppo vero! È troppo vero!" , though he did not deny the extraordinary quality of the portrait. Experts doubt the veracity of this story, and argue that the pope allowed Velázquez to paint him because he had already painted with great success other people from the inner papal court, including the pope's barber.The portrait was kept at private display by Innocent's family, the Pamphilj, who would display it in the Doria Pamphilj Gallery where it remains to this day. For much of the 17th and 18th centuries, it was a relatively unknown work, familiar only to a few connoisseurs who regarded it to be one of the finest portraits ever. French historian Hippolyte Taine considered the portrait as "the masterpiece amongst all portraits" and said "once it has been seen, it is impossible to forget".The art dealer René Gimpel noted in his diary in 1923 "Morgan would have offered a million dollars for it. Velázquez was faced with a ruddy Italian, and the artist, accustomed to the pale complexions of his country, unhesitatingly steeped his brush in red the color of wine and brought the bon vivant devastatingly to life.... That face is a whirlpool of flesh, and blood, and life; the eyes are searching."

Prompt: インノケンティウス10世の肖像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。

Doria Pamphilj Gallery
Doria Pamphilj Gallery
Pope Innocent X
Hippolyte Taine
Pope Innocent X
René Gimpel
Rome


section

インノケンティウス10世の肖像

The portrait was painted during Velázquez's second voyage to Italy, between 1649 and 1651. The subject's vestments are of light linen, suggesting that the picture was probably painted during summer, most likely in 1650. Velázquez included his signature on the paper in the pope's hands, but the date is not readable. There are two versions of the story of how Velázquez came to paint the portrait. According to one of these, while visiting Rome, Velázquez, already a renowned painter, was granted an audience with Pope Innocent X. He offered to paint a portrait of the pope, but Innocent X mistrusted Velázquez's fame, and asked for proof of Veláquez's skills. It would have been then that Velázquez painted the portrait of his servant Juan de Pareja . Once Innocent saw that portrait, he agreed to sit for the artist.leftApparently, when the pope saw the finished portrait, he exclaimed: "È troppo vero! È troppo vero!" , though he did not deny the extraordinary quality of the portrait. Experts doubt the veracity of this story, and argue that the pope allowed Velázquez to paint him because he had already painted with great success other people from the inner papal court, including the pope's barber.The portrait was kept at private display by Innocent's family, the Pamphilj, who would display it in the Doria Pamphilj Gallery where it remains to this day. For much of the 17th and 18th centuries, it was a relatively unknown work, familiar only to a few connoisseurs who regarded it to be one of the finest portraits ever. French historian Hippolyte Taine considered the portrait as "the masterpiece amongst all portraits" and said "once it has been seen, it is impossible to forget".The art dealer René Gimpel noted in his diary in 1923 "Morgan would have offered a million dollars for it. Velázquez was faced with a ruddy Italian, and the artist, accustomed to the pale complexions of his country, unhesitatingly steeped his brush in red the color of wine and brought the bon vivant devastatingly to life.... That face is a whirlpool of flesh, and blood, and life; the eyes are searching."

Prompt: インノケンティウス10世の肖像に関して、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。

Doria Pamphilj Gallery
Doria Pamphilj Gallery
Pope Innocent X
Hippolyte Taine
Pope Innocent X
René Gimpel
Rome


section

インノケンティウス10世の肖像

The 20th century artist Francis Bacon painted a series of distorted variants, often known as the "Screaming Popes", which total more than forty-five known variants executed during the 1950s and early 1960s. The picture was described by Gilles Deleuze as an example of creative re-interpretation of the classical. Bacon avoided seeing the original, but the painting remained the single greatest influence on him; its presence can be seen in many of his best works from the late 1940s to the early 1960s. In Bacon's 1953 version Study after Velázquez's Portrait of Pope Innocent X, the pope is shown screaming yet his voice is "silenced" by the enclosing drapes and dark rich colors which have been said to create a grotesque and nightmarish tone. The pleated curtains of the backdrop are rendered transparent and appear to fall through the representation of the pope's face.A reversed form of the portrait features on the cover of occult rock band Ghost's 2018 album Prequelle.

Prompt: インノケンティウス10世の肖像に焦点を当てて、その影響を説明してください。英語で出力して下さい。


section

インノケンティウス10世の肖像

The 20th century artist Francis Bacon painted a series of distorted variants, often known as the "Screaming Popes", which total more than forty-five known variants executed during the 1950s and early 1960s. The picture was described by Gilles Deleuze as an example of creative re-interpretation of the classical. Bacon avoided seeing the original, but the painting remained the single greatest influence on him; its presence can be seen in many of his best works from the late 1940s to the early 1960s. In Bacon's 1953 version Study after Velázquez's Portrait of Pope Innocent X, the pope is shown screaming yet his voice is "silenced" by the enclosing drapes and dark rich colors which have been said to create a grotesque and nightmarish tone. The pleated curtains of the backdrop are rendered transparent and appear to fall through the representation of the pope's face.A reversed form of the portrait features on the cover of occult rock band Ghost's 2018 album Prequelle.

Prompt: インノケンティウス10世の肖像の影響を説明してください。英語で出力して下さい。


section

インノケンティウス10世の肖像

The 20th century artist Francis Bacon painted a series of distorted variants, often known as the "Screaming Popes", which total more than forty-five known variants executed during the 1950s and early 1960s. The picture was described by Gilles Deleuze as an example of creative re-interpretation of the classical. Bacon avoided seeing the original, but the painting remained the single greatest influence on him; its presence can be seen in many of his best works from the late 1940s to the early 1960s. In Bacon's 1953 version Study after Velázquez's Portrait of Pope Innocent X, the pope is shown screaming yet his voice is "silenced" by the enclosing drapes and dark rich colors which have been said to create a grotesque and nightmarish tone. The pleated curtains of the backdrop are rendered transparent and appear to fall through the representation of the pope's face.A reversed form of the portrait features on the cover of occult rock band Ghost's 2018 album Prequelle.

Prompt: インノケンティウス10世の肖像はどのように影響を説明していますか？英語で出力して下さい。


section

インノケンティウス10世の肖像

The 20th century artist Francis Bacon painted a series of distorted variants, often known as the "Screaming Popes", which total more than forty-five known variants executed during the 1950s and early 1960s. The picture was described by Gilles Deleuze as an example of creative re-interpretation of the classical. Bacon avoided seeing the original, but the painting remained the single greatest influence on him; its presence can be seen in many of his best works from the late 1940s to the early 1960s. In Bacon's 1953 version Study after Velázquez's Portrait of Pope Innocent X, the pope is shown screaming yet his voice is "silenced" by the enclosing drapes and dark rich colors which have been said to create a grotesque and nightmarish tone. The pleated curtains of the backdrop are rendered transparent and appear to fall through the representation of the pope's face.A reversed form of the portrait features on the cover of occult rock band Ghost's 2018 album Prequelle.

Prompt: インノケンティウス10世の肖像に関して、どのように影響が議論されていますか？英語で出力して下さい。


section

インノケンティウス10世の肖像

Prompt: インノケンティウス10世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。

Diego Velázquez
List of works by Diego Velázquez


section

インノケンティウス10世の肖像

Prompt: インノケンティウス10世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。

Diego Velázquez
List of works by Diego Velázquez


section

インノケンティウス10世の肖像

Prompt: インノケンティウス10世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。

Diego Velázquez
List of works by Diego Velázquez


section

インノケンティウス10世の肖像

Prompt: インノケンティウス10世の肖像に関して、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。

Diego Velázquez
List of works by Diego Velázquez


section

インノケンティウス10世の肖像

Peppiatt, Michael. Anatomy of an Enigma. Westview Press, 1996.  Schmied, Wieland. Francis Bacon: Commitment and Conflict. Munich: Prestel, 1996.

Prompt: インノケンティウス10世の肖像に焦点を当てて、その情報源を説明してください。英語で出力して下さい。


section

インノケンティウス10世の肖像

Peppiatt, Michael. Anatomy of an Enigma. Westview Press, 1996.  Schmied, Wieland. Francis Bacon: Commitment and Conflict. Munich: Prestel, 1996.

Prompt: インノケンティウス10世の肖像の情報源を説明してください。英語で出力して下さい。


section

インノケンティウス10世の肖像

Peppiatt, Michael. Anatomy of an Enigma. Westview Press, 1996.  Schmied, Wieland. Francis Bacon: Commitment and Conflict. Munich: Prestel, 1996.

Prompt: インノケンティウス10世の肖像はどのように情報源を説明していますか？英語で出力して下さい。


section

インノケンティウス10世の肖像

Peppiatt, Michael. Anatomy of an Enigma. Westview Press, 1996.  Schmied, Wieland. Francis Bacon: Commitment and Conflict. Munich: Prestel, 1996.

Prompt: インノケンティウス10世の肖像に関して、どのように情報源が議論されていますか？英語で出力して下さい。


section

セビーリャの水売り

The Waterseller of Seville is the title of three paintings by Spanish artist Diego Velázquez, dating from 1618–1622. The original version is considered to be among the finest works of the painter's Seville period and is displayed in the Wellington Collection of Apsley House. The original version was painted by Velázquez when he was in his late teens or early twenties. Looking at this painting, there is an older man, a young boy, and a bystander in the background. The old man is handing the young boy a glass of water but, they never look at each other, nor do they make eye contact with the viewer.

Prompt: セビーリャの水売りに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Apsley House
Diego Velázquez
Seville
Wellington Collection


section

セビーリャの水売り

The Waterseller of Seville is the title of three paintings by Spanish artist Diego Velázquez, dating from 1618–1622. The original version is considered to be among the finest works of the painter's Seville period and is displayed in the Wellington Collection of Apsley House. The original version was painted by Velázquez when he was in his late teens or early twenties. Looking at this painting, there is an older man, a young boy, and a bystander in the background. The old man is handing the young boy a glass of water but, they never look at each other, nor do they make eye contact with the viewer.

Prompt: セビーリャの水売りの抽象を説明してください。英語で出力して下さい。

Apsley House
Diego Velázquez
Seville
Wellington Collection


section

セビーリャの水売り

The Waterseller of Seville is the title of three paintings by Spanish artist Diego Velázquez, dating from 1618–1622. The original version is considered to be among the finest works of the painter's Seville period and is displayed in the Wellington Collection of Apsley House. The original version was painted by Velázquez when he was in his late teens or early twenties. Looking at this painting, there is an older man, a young boy, and a bystander in the background. The old man is handing the young boy a glass of water but, they never look at each other, nor do they make eye contact with the viewer.

Prompt: セビーリャの水売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。

Apsley House
Diego Velázquez
Seville
Wellington Collection


section

セビーリャの水売り

The Waterseller of Seville is the title of three paintings by Spanish artist Diego Velázquez, dating from 1618–1622. The original version is considered to be among the finest works of the painter's Seville period and is displayed in the Wellington Collection of Apsley House. The original version was painted by Velázquez when he was in his late teens or early twenties. Looking at this painting, there is an older man, a young boy, and a bystander in the background. The old man is handing the young boy a glass of water but, they never look at each other, nor do they make eye contact with the viewer.

Prompt: セビーリャの水売りに関して、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。

Apsley House
Diego Velázquez
Seville
Wellington Collection


section

セビーリャの水売り

According to José Gudiol, the Waterseller of Seville by Velázquez was painted shortly before moving to Madrid. Gudiol also classified this painting as a bodegón, due to the depiction of beverages. Art historians typically compare this painting to the still lifes that were painted during the seventeenth century in Spain because this painting is very simple with a limited color range and Velázquez was working with still objects.  This painting is done in a realistic style with a limited color palette, another characteristic of the bodegón genre. According to Jon Moffitt, this piece was not a commissioned work.

Prompt: セビーリャの水売りに焦点を当てて、その歴史を説明してください。英語で出力して下さい。


section

セビーリャの水売り

According to José Gudiol, the Waterseller of Seville by Velázquez was painted shortly before moving to Madrid. Gudiol also classified this painting as a bodegón, due to the depiction of beverages. Art historians typically compare this painting to the still lifes that were painted during the seventeenth century in Spain because this painting is very simple with a limited color range and Velázquez was working with still objects.  This painting is done in a realistic style with a limited color palette, another characteristic of the bodegón genre. According to Jon Moffitt, this piece was not a commissioned work.

Prompt: セビーリャの水売りの歴史を説明してください。英語で出力して下さい。


section

セビーリャの水売り

According to José Gudiol, the Waterseller of Seville by Velázquez was painted shortly before moving to Madrid. Gudiol also classified this painting as a bodegón, due to the depiction of beverages. Art historians typically compare this painting to the still lifes that were painted during the seventeenth century in Spain because this painting is very simple with a limited color range and Velázquez was working with still objects.  This painting is done in a realistic style with a limited color palette, another characteristic of the bodegón genre. According to Jon Moffitt, this piece was not a commissioned work.

Prompt: セビーリャの水売り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。


section

セビーリャの水売り

According to José Gudiol, the Waterseller of Seville by Velázquez was painted shortly before moving to Madrid. Gudiol also classified this painting as a bodegón, due to the depiction of beverages. Art historians typically compare this painting to the still lifes that were painted during the seventeenth century in Spain because this painting is very simple with a limited color range and Velázquez was working with still objects.  This painting is done in a realistic style with a limited color palette, another characteristic of the bodegón genre. According to Jon Moffitt, this piece was not a commissioned work.

Prompt: セビーリャの水売りに関して、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。


section

セビーリャの水売り

The subject of the painting is the waterseller, a common trade for the lower classes in Velázquez's Seville. The jars and victuals recall bodegón paintings. The seller has two customers: a young boy, possibly painted from the same model as used for the boys in The Lunch and Old Woman Cooking Eggs, and a young man in the background shadows, .In the foreground sit the seller's gigantic pots of water, glistening with splashes of water. So large and rounded, they almost protrude out of the painting into the observer's space. The seller hands a freshly poured glass of water to the boy. In it sits a fig, a perfumer intended to make the water taste fresher .

Prompt: セビーリャの水売りに焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

セビーリャの水売り

The subject of the painting is the waterseller, a common trade for the lower classes in Velázquez's Seville. The jars and victuals recall bodegón paintings. The seller has two customers: a young boy, possibly painted from the same model as used for the boys in The Lunch and Old Woman Cooking Eggs, and a young man in the background shadows, .In the foreground sit the seller's gigantic pots of water, glistening with splashes of water. So large and rounded, they almost protrude out of the painting into the observer's space. The seller hands a freshly poured glass of water to the boy. In it sits a fig, a perfumer intended to make the water taste fresher .

Prompt: セビーリャの水売りの説明を説明してください。英語で出力して下さい。


section

セビーリャの水売り

The subject of the painting is the waterseller, a common trade for the lower classes in Velázquez's Seville. The jars and victuals recall bodegón paintings. The seller has two customers: a young boy, possibly painted from the same model as used for the boys in The Lunch and Old Woman Cooking Eggs, and a young man in the background shadows, .In the foreground sit the seller's gigantic pots of water, glistening with splashes of water. So large and rounded, they almost protrude out of the painting into the observer's space. The seller hands a freshly poured glass of water to the boy. In it sits a fig, a perfumer intended to make the water taste fresher .

Prompt: セビーリャの水売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

セビーリャの水売り

The subject of the painting is the waterseller, a common trade for the lower classes in Velázquez's Seville. The jars and victuals recall bodegón paintings. The seller has two customers: a young boy, possibly painted from the same model as used for the boys in The Lunch and Old Woman Cooking Eggs, and a young man in the background shadows, .In the foreground sit the seller's gigantic pots of water, glistening with splashes of water. So large and rounded, they almost protrude out of the painting into the observer's space. The seller hands a freshly poured glass of water to the boy. In it sits a fig, a perfumer intended to make the water taste fresher .

Prompt: セビーリャの水売りに関して、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

セビーリャの水売り

Velázquez's respect for the poor is evidence in the idea that the simple, elemental nature of poverty is profound and effective in depicting higher subjects and morals such as biblical stories .This simply means that even the slightest gestures are ones that are painted as if they were sacred acts. In the context of Velázquez's development as an artist, The Waterseller exhibits the beginnings of the technique found in the artist's mature creations. His insight into the person of the seller is symptomatic of his insight into the subjects of his great portraits, and his precise rendition of the small details of reality demonstrate his understanding of human perception. Also within the painting, the old man and the young boy both touch the same glass though they don't ever make eye contact. This could be because of their social status or even something as simple as their age difference.

Prompt: セビーリャの水売りに焦点を当てて、そのテーマを説明してください。英語で出力して下さい。


section

セビーリャの水売り

Velázquez's respect for the poor is evidence in the idea that the simple, elemental nature of poverty is profound and effective in depicting higher subjects and morals such as biblical stories .This simply means that even the slightest gestures are ones that are painted as if they were sacred acts. In the context of Velázquez's development as an artist, The Waterseller exhibits the beginnings of the technique found in the artist's mature creations. His insight into the person of the seller is symptomatic of his insight into the subjects of his great portraits, and his precise rendition of the small details of reality demonstrate his understanding of human perception. Also within the painting, the old man and the young boy both touch the same glass though they don't ever make eye contact. This could be because of their social status or even something as simple as their age difference.

Prompt: セビーリャの水売りのテーマを説明してください。英語で出力して下さい。


section

セビーリャの水売り

Velázquez's respect for the poor is evidence in the idea that the simple, elemental nature of poverty is profound and effective in depicting higher subjects and morals such as biblical stories .This simply means that even the slightest gestures are ones that are painted as if they were sacred acts. In the context of Velázquez's development as an artist, The Waterseller exhibits the beginnings of the technique found in the artist's mature creations. His insight into the person of the seller is symptomatic of his insight into the subjects of his great portraits, and his precise rendition of the small details of reality demonstrate his understanding of human perception. Also within the painting, the old man and the young boy both touch the same glass though they don't ever make eye contact. This could be because of their social status or even something as simple as their age difference.

Prompt: セビーリャの水売りはどのようにテーマを説明していますか？英語で出力して下さい。


section

セビーリャの水売り

Velázquez's respect for the poor is evidence in the idea that the simple, elemental nature of poverty is profound and effective in depicting higher subjects and morals such as biblical stories .This simply means that even the slightest gestures are ones that are painted as if they were sacred acts. In the context of Velázquez's development as an artist, The Waterseller exhibits the beginnings of the technique found in the artist's mature creations. His insight into the person of the seller is symptomatic of his insight into the subjects of his great portraits, and his precise rendition of the small details of reality demonstrate his understanding of human perception. Also within the painting, the old man and the young boy both touch the same glass though they don't ever make eye contact. This could be because of their social status or even something as simple as their age difference.

Prompt: セビーリャの水売りに関して、どのようにテーマが議論されていますか？英語で出力して下さい。


section

セビーリャの水売り

Another proponent of this simple color range was Caravaggio, who significantly influenced this painting. Caravaggio went against the idealistic trends of Mannerism and the Renaissance, painting saints and divine beings as fallible cripples and prostitutes. Whilst not as aggressively provocative as Caravaggio, Velázquez does not by any means idealize his subject. Rather, he aims to represent it in a way that is precisely faithful to life. He captures the imperfections of the seller's pots, the dampness on their sides, the glistening of the light on the small drops of water and the glass, and the realistic expressions of the characters.Francisco Pacheco was not only Velázquez's teacher, but he was his father-in-law-too. Pacheco praised his son-in-law's bodegones paintings because they were not being given the credit that they should have been.Antonio Palomino, Velázquez's contemporary, was the first author ever to mention the painting and he claimed that the old man looked worse than he really did. However, this was not the first time Palomino was inaccurate in his descriptions of a painting by Velázquez. Palomino had already given a very inaccurate of the painting An Old Woman Cooking Eggs.

Prompt: セビーリャの水売りに焦点を当てて、その影響を説明してください。英語で出力して下さい。

Antonio Palomino
Caravaggio
Francisco Pacheco
Mannerism
Renaissance


section

セビーリャの水売り

Another proponent of this simple color range was Caravaggio, who significantly influenced this painting. Caravaggio went against the idealistic trends of Mannerism and the Renaissance, painting saints and divine beings as fallible cripples and prostitutes. Whilst not as aggressively provocative as Caravaggio, Velázquez does not by any means idealize his subject. Rather, he aims to represent it in a way that is precisely faithful to life. He captures the imperfections of the seller's pots, the dampness on their sides, the glistening of the light on the small drops of water and the glass, and the realistic expressions of the characters.Francisco Pacheco was not only Velázquez's teacher, but he was his father-in-law-too. Pacheco praised his son-in-law's bodegones paintings because they were not being given the credit that they should have been.Antonio Palomino, Velázquez's contemporary, was the first author ever to mention the painting and he claimed that the old man looked worse than he really did. However, this was not the first time Palomino was inaccurate in his descriptions of a painting by Velázquez. Palomino had already given a very inaccurate of the painting An Old Woman Cooking Eggs.

Prompt: セビーリャの水売りの影響を説明してください。英語で出力して下さい。

Antonio Palomino
Caravaggio
Francisco Pacheco
Mannerism
Renaissance


section

セビーリャの水売り

Another proponent of this simple color range was Caravaggio, who significantly influenced this painting. Caravaggio went against the idealistic trends of Mannerism and the Renaissance, painting saints and divine beings as fallible cripples and prostitutes. Whilst not as aggressively provocative as Caravaggio, Velázquez does not by any means idealize his subject. Rather, he aims to represent it in a way that is precisely faithful to life. He captures the imperfections of the seller's pots, the dampness on their sides, the glistening of the light on the small drops of water and the glass, and the realistic expressions of the characters.Francisco Pacheco was not only Velázquez's teacher, but he was his father-in-law-too. Pacheco praised his son-in-law's bodegones paintings because they were not being given the credit that they should have been.Antonio Palomino, Velázquez's contemporary, was the first author ever to mention the painting and he claimed that the old man looked worse than he really did. However, this was not the first time Palomino was inaccurate in his descriptions of a painting by Velázquez. Palomino had already given a very inaccurate of the painting An Old Woman Cooking Eggs.

Prompt: セビーリャの水売りはどのように影響を説明していますか？英語で出力して下さい。

Antonio Palomino
Caravaggio
Francisco Pacheco
Mannerism
Renaissance


section

セビーリャの水売り

Another proponent of this simple color range was Caravaggio, who significantly influenced this painting. Caravaggio went against the idealistic trends of Mannerism and the Renaissance, painting saints and divine beings as fallible cripples and prostitutes. Whilst not as aggressively provocative as Caravaggio, Velázquez does not by any means idealize his subject. Rather, he aims to represent it in a way that is precisely faithful to life. He captures the imperfections of the seller's pots, the dampness on their sides, the glistening of the light on the small drops of water and the glass, and the realistic expressions of the characters.Francisco Pacheco was not only Velázquez's teacher, but he was his father-in-law-too. Pacheco praised his son-in-law's bodegones paintings because they were not being given the credit that they should have been.Antonio Palomino, Velázquez's contemporary, was the first author ever to mention the painting and he claimed that the old man looked worse than he really did. However, this was not the first time Palomino was inaccurate in his descriptions of a painting by Velázquez. Palomino had already given a very inaccurate of the painting An Old Woman Cooking Eggs.

Prompt: セビーリャの水売りに関して、どのように影響が議論されていますか？英語で出力して下さい。

Antonio Palomino
Caravaggio
Francisco Pacheco
Mannerism
Renaissance


section

セビーリャの水売り

The painting appears as an Easter Egg in the video game Resident Evil 4.

Prompt: セビーリャの水売りに焦点を当てて、その大衆文化の中の参照を説明してください。英語で出力して下さい。


section

セビーリャの水売り

The painting appears as an Easter Egg in the video game Resident Evil 4.

Prompt: セビーリャの水売りの大衆文化の中の参照を説明してください。英語で出力して下さい。


section

セビーリャの水売り

The painting appears as an Easter Egg in the video game Resident Evil 4.

Prompt: セビーリャの水売りはどのように大衆文化の中の参照を説明していますか？英語で出力して下さい。


section

セビーリャの水売り

The painting appears as an Easter Egg in the video game Resident Evil 4.

Prompt: セビーリャの水売りに関して、どのように大衆文化の中の参照が議論されていますか？英語で出力して下さい。


section

セビーリャの水売り

Prompt: セビーリャの水売りに焦点を当てて、その参照を説明してください。英語で出力して下さい。

Diego Velázquez
List of works by Diego Velázquez


section

セビーリャの水売り

Prompt: セビーリャの水売りの参照を説明してください。英語で出力して下さい。

Diego Velázquez
List of works by Diego Velázquez


section

セビーリャの水売り

Prompt: セビーリャの水売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。

Diego Velázquez
List of works by Diego Velázquez


section

セビーリャの水売り

Prompt: セビーリャの水売りに関して、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。

Diego Velázquez
List of works by Diego Velázquez


section

セビーリャの水売り

Gudiol José, et al. The Complete Paintings of Velázquez: 1599-1660. Greenwich House, 1983.Ortiz, Antonio Dominguez., et al. Velázquez. Metropolitan Mus Of Art, 2013.“Velázquez, The Waterseller of Seville.” Khan Academy, Khan Academy, https://www.khanacademy.org/humanities/monarchy-enlightenment/baroque-art1/spain/a/velzquez-the-waterseller-of-seville “Spanish Paintings Archives.” Wellington Collection, https://www.wellingtoncollection.co.uk/collection-category/spanish-paintings/Moffitt, John F. "Image and Meaning in Velázquez's Water-Carrier of Seville." New Mexico State University. http://revistes.ub.edu/index.php/trazaybaza/article/viewFile/27849/28710

Prompt: セビーリャの水売りに焦点を当てて、その情報源を説明してください。英語で出力して下さい。


section

セビーリャの水売り

Gudiol José, et al. The Complete Paintings of Velázquez: 1599-1660. Greenwich House, 1983.Ortiz, Antonio Dominguez., et al. Velázquez. Metropolitan Mus Of Art, 2013.“Velázquez, The Waterseller of Seville.” Khan Academy, Khan Academy, https://www.khanacademy.org/humanities/monarchy-enlightenment/baroque-art1/spain/a/velzquez-the-waterseller-of-seville “Spanish Paintings Archives.” Wellington Collection, https://www.wellingtoncollection.co.uk/collection-category/spanish-paintings/Moffitt, John F. "Image and Meaning in Velázquez's Water-Carrier of Seville." New Mexico State University. http://revistes.ub.edu/index.php/trazaybaza/article/viewFile/27849/28710

Prompt: セビーリャの水売りの情報源を説明してください。英語で出力して下さい。


section

セビーリャの水売り

Gudiol José, et al. The Complete Paintings of Velázquez: 1599-1660. Greenwich House, 1983.Ortiz, Antonio Dominguez., et al. Velázquez. Metropolitan Mus Of Art, 2013.“Velázquez, The Waterseller of Seville.” Khan Academy, Khan Academy, https://www.khanacademy.org/humanities/monarchy-enlightenment/baroque-art1/spain/a/velzquez-the-waterseller-of-seville “Spanish Paintings Archives.” Wellington Collection, https://www.wellingtoncollection.co.uk/collection-category/spanish-paintings/Moffitt, John F. "Image and Meaning in Velázquez's Water-Carrier of Seville." New Mexico State University. http://revistes.ub.edu/index.php/trazaybaza/article/viewFile/27849/28710

Prompt: セビーリャの水売りはどのように情報源を説明していますか？英語で出力して下さい。


section

セビーリャの水売り

Gudiol José, et al. The Complete Paintings of Velázquez: 1599-1660. Greenwich House, 1983.Ortiz, Antonio Dominguez., et al. Velázquez. Metropolitan Mus Of Art, 2013.“Velázquez, The Waterseller of Seville.” Khan Academy, Khan Academy, https://www.khanacademy.org/humanities/monarchy-enlightenment/baroque-art1/spain/a/velzquez-the-waterseller-of-seville “Spanish Paintings Archives.” Wellington Collection, https://www.wellingtoncollection.co.uk/collection-category/spanish-paintings/Moffitt, John F. "Image and Meaning in Velázquez's Water-Carrier of Seville." New Mexico State University. http://revistes.ub.edu/index.php/trazaybaza/article/viewFile/27849/28710

Prompt: セビーリャの水売りに関して、どのように情報源が議論されていますか？英語で出力して下さい。


subsection

セビーリャの水売り

The painting by Velazquez is shown in three different paintings. The version in the Apsley House, London, United Kingdom, is the version that is most popular.It entered the Royal Spanish Collection. From the Buen Retiro Palace, it went to the Palacio Nuevo. There it was seen by Ponz and had won praise by Anton Raphael Mengs. It was stolen by Joseph Bonaparte at the time of the Napoleonic wars. The Duke of Wellington later won it back – along with 82 other paintings – at the Battle of Vitoria. The King of Spain allowed him to keep them in return for beating the French. Wellington brought the painting back to England where it remains to this day, in Apsley House, his former home. This version is hung in the Waterloo Gallery in the museum side of the House  so can be viewed by the public.

Prompt: セビーリャの水売りの文脈で、ロンドンバージョンと影響を説明してください。英語で出力して下さい。

Anton Raphael Mengs
Apsley House
Battle of Vitoria
Buen Retiro Palace
Joseph Bonaparte
London
Palacio Nuevo
United Kingdom
Waterloo Gallery


subsection

セビーリャの水売り

The painting by Velazquez is shown in three different paintings. The version in the Apsley House, London, United Kingdom, is the version that is most popular.It entered the Royal Spanish Collection. From the Buen Retiro Palace, it went to the Palacio Nuevo. There it was seen by Ponz and had won praise by Anton Raphael Mengs. It was stolen by Joseph Bonaparte at the time of the Napoleonic wars. The Duke of Wellington later won it back – along with 82 other paintings – at the Battle of Vitoria. The King of Spain allowed him to keep them in return for beating the French. Wellington brought the painting back to England where it remains to this day, in Apsley House, his former home. This version is hung in the Waterloo Gallery in the museum side of the House  so can be viewed by the public.

Prompt: セビーリャの水売りの影響に関するロンドンバージョンを説明してください。英語で出力して下さい。

Anton Raphael Mengs
Apsley House
Battle of Vitoria
Buen Retiro Palace
Joseph Bonaparte
London
Palacio Nuevo
United Kingdom
Waterloo Gallery


subsection

セビーリャの水売り

The painting by Velazquez is shown in three different paintings. The version in the Apsley House, London, United Kingdom, is the version that is most popular.It entered the Royal Spanish Collection. From the Buen Retiro Palace, it went to the Palacio Nuevo. There it was seen by Ponz and had won praise by Anton Raphael Mengs. It was stolen by Joseph Bonaparte at the time of the Napoleonic wars. The Duke of Wellington later won it back – along with 82 other paintings – at the Battle of Vitoria. The King of Spain allowed him to keep them in return for beating the French. Wellington brought the painting back to England where it remains to this day, in Apsley House, his former home. This version is hung in the Waterloo Gallery in the museum side of the House  so can be viewed by the public.

Prompt: セビーリャの水売りでは、どのように影響のロンドンバージョンが説明されていますか？英語で出力して下さい。

Anton Raphael Mengs
Apsley House
Battle of Vitoria
Buen Retiro Palace
Joseph Bonaparte
London
Palacio Nuevo
United Kingdom
Waterloo Gallery


subsection

セビーリャの水売り

The painting by Velazquez is shown in three different paintings. The version in the Apsley House, London, United Kingdom, is the version that is most popular.It entered the Royal Spanish Collection. From the Buen Retiro Palace, it went to the Palacio Nuevo. There it was seen by Ponz and had won praise by Anton Raphael Mengs. It was stolen by Joseph Bonaparte at the time of the Napoleonic wars. The Duke of Wellington later won it back – along with 82 other paintings – at the Battle of Vitoria. The King of Spain allowed him to keep them in return for beating the French. Wellington brought the painting back to England where it remains to this day, in Apsley House, his former home. This version is hung in the Waterloo Gallery in the museum side of the House  so can be viewed by the public.

Prompt: セビーリャの水売りの影響におけるロンドンバージョンの特徴を説明してください。英語で出力して下さい。

Anton Raphael Mengs
Apsley House
Battle of Vitoria
Buen Retiro Palace
Joseph Bonaparte
London
Palacio Nuevo
United Kingdom
Waterloo Gallery


subsection

セビーリャの水売り

The version in the Uffizi Gallery of Florence has a rather more burlesque feel, with the seller wearing an ornate red hat. The man in the back is more visible to the audience's eye. It has been suggested that this is earlier than the version in London.This version of the painting is the dullest of them all. There is no shimmer to the pot like the other two have and the color scheme is very pale. This may have been more in line with Velázquez's contemporaries' expectations due to the comical and devious image of the waterseller given in picaresque novels of the time.

Prompt: セビーリャの水売りの文脈で、フローレンスバージョンと影響を説明してください。英語で出力して下さい。


subsection

セビーリャの水売り

The version in the Uffizi Gallery of Florence has a rather more burlesque feel, with the seller wearing an ornate red hat. The man in the back is more visible to the audience's eye. It has been suggested that this is earlier than the version in London.This version of the painting is the dullest of them all. There is no shimmer to the pot like the other two have and the color scheme is very pale. This may have been more in line with Velázquez's contemporaries' expectations due to the comical and devious image of the waterseller given in picaresque novels of the time.

Prompt: セビーリャの水売りの影響に関するフローレンスバージョンを説明してください。英語で出力して下さい。


subsection

セビーリャの水売り

The version in the Uffizi Gallery of Florence has a rather more burlesque feel, with the seller wearing an ornate red hat. The man in the back is more visible to the audience's eye. It has been suggested that this is earlier than the version in London.This version of the painting is the dullest of them all. There is no shimmer to the pot like the other two have and the color scheme is very pale. This may have been more in line with Velázquez's contemporaries' expectations due to the comical and devious image of the waterseller given in picaresque novels of the time.

Prompt: セビーリャの水売りでは、どのように影響のフローレンスバージョンが説明されていますか？英語で出力して下さい。


subsection

セビーリャの水売り

The version in the Uffizi Gallery of Florence has a rather more burlesque feel, with the seller wearing an ornate red hat. The man in the back is more visible to the audience's eye. It has been suggested that this is earlier than the version in London.This version of the painting is the dullest of them all. There is no shimmer to the pot like the other two have and the color scheme is very pale. This may have been more in line with Velázquez's contemporaries' expectations due to the comical and devious image of the waterseller given in picaresque novels of the time.

Prompt: セビーリャの水売りの影響におけるフローレンスバージョンの特徴を説明してください。英語で出力して下さい。


subsection

セビーリャの水売り

The third version, takes yet another angle on the waterseller. In this he appears almost despairing in his expression, perhaps to the extent of appearing farcical. The brilliant colours used are the most extreme of the three . However, as in the Uffizi version, the characters lack the depth of personality present in the Wellington version. The man that was in the back of the other paintings is no longer visible and the background is shaded so the colors in the foreground really stand out, such as the pot and the man's red over piece that he is wearing.

Prompt: セビーリャの水売りの文脈で、ボルチモアバージョンと影響を説明してください。英語で出力して下さい。


subsection

セビーリャの水売り

The third version, takes yet another angle on the waterseller. In this he appears almost despairing in his expression, perhaps to the extent of appearing farcical. The brilliant colours used are the most extreme of the three . However, as in the Uffizi version, the characters lack the depth of personality present in the Wellington version. The man that was in the back of the other paintings is no longer visible and the background is shaded so the colors in the foreground really stand out, such as the pot and the man's red over piece that he is wearing.

Prompt: セビーリャの水売りの影響に関するボルチモアバージョンを説明してください。英語で出力して下さい。


subsection

セビーリャの水売り

The third version, takes yet another angle on the waterseller. In this he appears almost despairing in his expression, perhaps to the extent of appearing farcical. The brilliant colours used are the most extreme of the three . However, as in the Uffizi version, the characters lack the depth of personality present in the Wellington version. The man that was in the back of the other paintings is no longer visible and the background is shaded so the colors in the foreground really stand out, such as the pot and the man's red over piece that he is wearing.

Prompt: セビーリャの水売りでは、どのように影響のボルチモアバージョンが説明されていますか？英語で出力して下さい。


subsection

セビーリャの水売り

The third version, takes yet another angle on the waterseller. In this he appears almost despairing in his expression, perhaps to the extent of appearing farcical. The brilliant colours used are the most extreme of the three . However, as in the Uffizi version, the characters lack the depth of personality present in the Wellington version. The man that was in the back of the other paintings is no longer visible and the background is shaded so the colors in the foreground really stand out, such as the pot and the man's red over piece that he is wearing.

Prompt: セビーリャの水売りの影響におけるボルチモアバージョンの特徴を説明してください。英語で出力して下さい。


section

シジスモンド・パンドルフォ・マラテスタの肖像

The Portrait of Sigismondo Pandolfo Malatesta is a painting attributed to the Italian Renaissance master Piero della Francesca . It portrays the condottiero and lord of Rimini and Fano Sigismondo Pandolfo Malatesta, and is housed in the Musée du Louvre of Paris.The portrait depicts the condottiero by profile and, according to some sources, was based on a medal executed in 1445 by Pisanello, or to one by Matteo de' Pasti from 1450. The picture itself is believed to be executed by Piero della Francesca during his sojourn in Rimini, during which he also painted the fresco with Sigismondo Pandolfo kneeling after St. Sigismund in the Tempio Malatestiano  of the city.Despite the choice of the profile representation, typical of the portraits of eminent figures of the type, Piero della Francesca showed his attention for naturalist details in the fine execution of the texture and the hair of the committent. This is a proof of his good knowledge of Flemish masters such as Rogier van der Weyden.Attribution is not certain and very late. Until 1889, it used to belong to the Russian Imperial Art Collection. Only as art piece of the d'Ancona collection in Milan in late 19th century, it was first attributed to Piero della Francesca by art-dealer Giovanni Morelli. From there it moved to Contini-Bonacossi collection, where Roberto Longhi reiterated the attribution before the family sold it to the Louvre. However, doubts were raised by Italian art critics and professors, some of whom believed it to be a neoclassical fake due to its uncanny resemblance with the painting of Tempio Malatestiano. Similarly, an Italian ministerial art commission refused to buy it in 1969 as part of the Contini-Bonacossi bequest due to the doubts surrounding its attribution. French art historians have, instead, always been unanimous on its attribution, especially after entering the Louvre collection.

Prompt: シジスモンド・パンドルフォ・マラテスタ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。

Fano
Giovanni Morelli
Louvre
Louvre
Piero della Francesca
Pisanello
Renaissance
Rimini
Rogier van der Weyden
Sigismondo Pandolfo Malatesta
Tempio Malatestiano


section

シジスモンド・パンドルフォ・マラテスタの肖像

The Portrait of Sigismondo Pandolfo Malatesta is a painting attributed to the Italian Renaissance master Piero della Francesca . It portrays the condottiero and lord of Rimini and Fano Sigismondo Pandolfo Malatesta, and is housed in the Musée du Louvre of Paris.The portrait depicts the condottiero by profile and, according to some sources, was based on a medal executed in 1445 by Pisanello, or to one by Matteo de' Pasti from 1450. The picture itself is believed to be executed by Piero della Francesca during his sojourn in Rimini, during which he also painted the fresco with Sigismondo Pandolfo kneeling after St. Sigismund in the Tempio Malatestiano  of the city.Despite the choice of the profile representation, typical of the portraits of eminent figures of the type, Piero della Francesca showed his attention for naturalist details in the fine execution of the texture and the hair of the committent. This is a proof of his good knowledge of Flemish masters such as Rogier van der Weyden.Attribution is not certain and very late. Until 1889, it used to belong to the Russian Imperial Art Collection. Only as art piece of the d'Ancona collection in Milan in late 19th century, it was first attributed to Piero della Francesca by art-dealer Giovanni Morelli. From there it moved to Contini-Bonacossi collection, where Roberto Longhi reiterated the attribution before the family sold it to the Louvre. However, doubts were raised by Italian art critics and professors, some of whom believed it to be a neoclassical fake due to its uncanny resemblance with the painting of Tempio Malatestiano. Similarly, an Italian ministerial art commission refused to buy it in 1969 as part of the Contini-Bonacossi bequest due to the doubts surrounding its attribution. French art historians have, instead, always been unanimous on its attribution, especially after entering the Louvre collection.

Prompt: シジスモンド・パンドルフォ・マラテスタ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。

Fano
Giovanni Morelli
Louvre
Louvre
Piero della Francesca
Pisanello
Renaissance
Rimini
Rogier van der Weyden
Sigismondo Pandolfo Malatesta
Tempio Malatestiano


section

シジスモンド・パンドルフォ・マラテスタの肖像

The Portrait of Sigismondo Pandolfo Malatesta is a painting attributed to the Italian Renaissance master Piero della Francesca . It portrays the condottiero and lord of Rimini and Fano Sigismondo Pandolfo Malatesta, and is housed in the Musée du Louvre of Paris.The portrait depicts the condottiero by profile and, according to some sources, was based on a medal executed in 1445 by Pisanello, or to one by Matteo de' Pasti from 1450. The picture itself is believed to be executed by Piero della Francesca during his sojourn in Rimini, during which he also painted the fresco with Sigismondo Pandolfo kneeling after St. Sigismund in the Tempio Malatestiano  of the city.Despite the choice of the profile representation, typical of the portraits of eminent figures of the type, Piero della Francesca showed his attention for naturalist details in the fine execution of the texture and the hair of the committent. This is a proof of his good knowledge of Flemish masters such as Rogier van der Weyden.Attribution is not certain and very late. Until 1889, it used to belong to the Russian Imperial Art Collection. Only as art piece of the d'Ancona collection in Milan in late 19th century, it was first attributed to Piero della Francesca by art-dealer Giovanni Morelli. From there it moved to Contini-Bonacossi collection, where Roberto Longhi reiterated the attribution before the family sold it to the Louvre. However, doubts were raised by Italian art critics and professors, some of whom believed it to be a neoclassical fake due to its uncanny resemblance with the painting of Tempio Malatestiano. Similarly, an Italian ministerial art commission refused to buy it in 1969 as part of the Contini-Bonacossi bequest due to the doubts surrounding its attribution. French art historians have, instead, always been unanimous on its attribution, especially after entering the Louvre collection.

Prompt: シジスモンド・パンドルフォ・マラテスタ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。

Fano
Giovanni Morelli
Louvre
Louvre
Piero della Francesca
Pisanello
Renaissance
Rimini
Rogier van der Weyden
Sigismondo Pandolfo Malatesta
Tempio Malatestiano


section

シジスモンド・パンドルフォ・マラテスタの肖像

The Portrait of Sigismondo Pandolfo Malatesta is a painting attributed to the Italian Renaissance master Piero della Francesca . It portrays the condottiero and lord of Rimini and Fano Sigismondo Pandolfo Malatesta, and is housed in the Musée du Louvre of Paris.The portrait depicts the condottiero by profile and, according to some sources, was based on a medal executed in 1445 by Pisanello, or to one by Matteo de' Pasti from 1450. The picture itself is believed to be executed by Piero della Francesca during his sojourn in Rimini, during which he also painted the fresco with Sigismondo Pandolfo kneeling after St. Sigismund in the Tempio Malatestiano  of the city.Despite the choice of the profile representation, typical of the portraits of eminent figures of the type, Piero della Francesca showed his attention for naturalist details in the fine execution of the texture and the hair of the committent. This is a proof of his good knowledge of Flemish masters such as Rogier van der Weyden.Attribution is not certain and very late. Until 1889, it used to belong to the Russian Imperial Art Collection. Only as art piece of the d'Ancona collection in Milan in late 19th century, it was first attributed to Piero della Francesca by art-dealer Giovanni Morelli. From there it moved to Contini-Bonacossi collection, where Roberto Longhi reiterated the attribution before the family sold it to the Louvre. However, doubts were raised by Italian art critics and professors, some of whom believed it to be a neoclassical fake due to its uncanny resemblance with the painting of Tempio Malatestiano. Similarly, an Italian ministerial art commission refused to buy it in 1969 as part of the Contini-Bonacossi bequest due to the doubts surrounding its attribution. French art historians have, instead, always been unanimous on its attribution, especially after entering the Louvre collection.

Prompt: シジスモンド・パンドルフォ・マラテスタの肖像に関して、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。

Fano
Giovanni Morelli
Louvre
Louvre
Piero della Francesca
Pisanello
Renaissance
Rimini
Rogier van der Weyden
Sigismondo Pandolfo Malatesta
Tempio Malatestiano


section

ルーベンスとイザベラ・ブラント

The Honeysuckle Bower  is a self-portrait of the Flemish Baroque painter Peter Paul Rubens and his first wife Isabella Brant, executed c. 1609.The couple is seated in fine clothes within a garden composition and a vine of honeysuckle is placed overhead. The symbolism of the double-portrait alludes to meanings of love and marriage, such as the holding of right hands , and the concept of the garden of love. The pose of the two figures and their fine clothing signify self-fashioning by Rubens. They wed in 1609, the same year that work was created; it was ultimately given to Isabella’s father Jan Brant and would later end up in the collection of Johann Wilhem II of Düsseldorf. The couple would be married for seventeen years, and have three children before Isabella died in 1625. Her death would have a profound impact on Rubens and through his loss he created an posthumous portrait.

Prompt: ルーベンスとイザベラ・ブラントに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Düsseldorf
Honeysuckle
Isabella Brant
Peter Paul Rubens


section

ルーベンスとイザベラ・ブラント

The Honeysuckle Bower  is a self-portrait of the Flemish Baroque painter Peter Paul Rubens and his first wife Isabella Brant, executed c. 1609.The couple is seated in fine clothes within a garden composition and a vine of honeysuckle is placed overhead. The symbolism of the double-portrait alludes to meanings of love and marriage, such as the holding of right hands , and the concept of the garden of love. The pose of the two figures and their fine clothing signify self-fashioning by Rubens. They wed in 1609, the same year that work was created; it was ultimately given to Isabella’s father Jan Brant and would later end up in the collection of Johann Wilhem II of Düsseldorf. The couple would be married for seventeen years, and have three children before Isabella died in 1625. Her death would have a profound impact on Rubens and through his loss he created an posthumous portrait.

Prompt: ルーベンスとイザベラ・ブラントの抽象を説明してください。英語で出力して下さい。

Düsseldorf
Honeysuckle
Isabella Brant
Peter Paul Rubens


section

ルーベンスとイザベラ・ブラント

The Honeysuckle Bower  is a self-portrait of the Flemish Baroque painter Peter Paul Rubens and his first wife Isabella Brant, executed c. 1609.The couple is seated in fine clothes within a garden composition and a vine of honeysuckle is placed overhead. The symbolism of the double-portrait alludes to meanings of love and marriage, such as the holding of right hands , and the concept of the garden of love. The pose of the two figures and their fine clothing signify self-fashioning by Rubens. They wed in 1609, the same year that work was created; it was ultimately given to Isabella’s father Jan Brant and would later end up in the collection of Johann Wilhem II of Düsseldorf. The couple would be married for seventeen years, and have three children before Isabella died in 1625. Her death would have a profound impact on Rubens and through his loss he created an posthumous portrait.

Prompt: ルーベンスとイザベラ・ブラント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。

Düsseldorf
Honeysuckle
Isabella Brant
Peter Paul Rubens


section

ルーベンスとイザベラ・ブラント

The Honeysuckle Bower  is a self-portrait of the Flemish Baroque painter Peter Paul Rubens and his first wife Isabella Brant, executed c. 1609.The couple is seated in fine clothes within a garden composition and a vine of honeysuckle is placed overhead. The symbolism of the double-portrait alludes to meanings of love and marriage, such as the holding of right hands , and the concept of the garden of love. The pose of the two figures and their fine clothing signify self-fashioning by Rubens. They wed in 1609, the same year that work was created; it was ultimately given to Isabella’s father Jan Brant and would later end up in the collection of Johann Wilhem II of Düsseldorf. The couple would be married for seventeen years, and have three children before Isabella died in 1625. Her death would have a profound impact on Rubens and through his loss he created an posthumous portrait.

Prompt: ルーベンスとイザベラ・ブラントに関して、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。

Düsseldorf
Honeysuckle
Isabella Brant
Peter Paul Rubens


section

ルーベンスとイザベラ・ブラント

The painting is a full-length double portrait of the couple seated in a bower  also called an arbor of honeysuckle. The couple is dressed in fine clothing of an aristocratic class within this portrait while also maintaining a casual and adoring pose.

Prompt: ルーベンスとイザベラ・ブラントに焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

ルーベンスとイザベラ・ブラント

The painting is a full-length double portrait of the couple seated in a bower  also called an arbor of honeysuckle. The couple is dressed in fine clothing of an aristocratic class within this portrait while also maintaining a casual and adoring pose.

Prompt: ルーベンスとイザベラ・ブラントの説明を説明してください。英語で出力して下さい。


section

ルーベンスとイザベラ・ブラント

The painting is a full-length double portrait of the couple seated in a bower  also called an arbor of honeysuckle. The couple is dressed in fine clothing of an aristocratic class within this portrait while also maintaining a casual and adoring pose.

Prompt: ルーベンスとイザベラ・ブラント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

ルーベンスとイザベラ・ブラント

The painting is a full-length double portrait of the couple seated in a bower  also called an arbor of honeysuckle. The couple is dressed in fine clothing of an aristocratic class within this portrait while also maintaining a casual and adoring pose.

Prompt: ルーベンスとイザベラ・ブラントに関して、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

ルーベンスとイザベラ・ブラント

The artwork was given to Isabella Brant’s father, Jan Brant after the two married in 1609. ter on, Honeysuckle Bower and other paintings by Rubens in the Düsseldorf Collection were given to the Alte Pinakothek museum in Munich as a form of inheritance in 1805.

Prompt: ルーベンスとイザベラ・ブラントに焦点を当てて、その起源を説明してください。英語で出力して下さい。

Alte Pinakothek
Düsseldorf
Honeysuckle
Isabella Brant
Munich


section

ルーベンスとイザベラ・ブラント

The artwork was given to Isabella Brant’s father, Jan Brant after the two married in 1609. ter on, Honeysuckle Bower and other paintings by Rubens in the Düsseldorf Collection were given to the Alte Pinakothek museum in Munich as a form of inheritance in 1805.

Prompt: ルーベンスとイザベラ・ブラントの起源を説明してください。英語で出力して下さい。

Alte Pinakothek
Düsseldorf
Honeysuckle
Isabella Brant
Munich


section

ルーベンスとイザベラ・ブラント

The artwork was given to Isabella Brant’s father, Jan Brant after the two married in 1609. ter on, Honeysuckle Bower and other paintings by Rubens in the Düsseldorf Collection were given to the Alte Pinakothek museum in Munich as a form of inheritance in 1805.

Prompt: ルーベンスとイザベラ・ブラント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。

Alte Pinakothek
Düsseldorf
Honeysuckle
Isabella Brant
Munich


section

ルーベンスとイザベラ・ブラント

The artwork was given to Isabella Brant’s father, Jan Brant after the two married in 1609. ter on, Honeysuckle Bower and other paintings by Rubens in the Düsseldorf Collection were given to the Alte Pinakothek museum in Munich as a form of inheritance in 1805.

Prompt: ルーベンスとイザベラ・ブラントに関して、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。

Alte Pinakothek
Düsseldorf
Honeysuckle
Isabella Brant
Munich


subsection

ルーベンスとイザベラ・ブラント

The honeysuckle plant has had various meanings over the years. Most notably, the meaning that is still associated with the flower, began in the Middle Ages. The overall qualities that the honeysuckle plant symbolized was the idea of lasting pleasure; it also had meanings of steadfastness and permanence. This became a typical symbol found in paintings in the time of Rubens. Another element that may have influenced this was Roman de la Rose, as well as the role of the garden in aristocratic society. In these scenes, women depicted as objects of admiration by their suitors and the garden is full of joyfulness and music.In this painting Rubens and Isabella join their rights hands in an act of Dextrarum iunctio. Dextrarum iunctio was the ceremony of joining the right hands of a couple together, and it has ancient Roman origins. This symbol most likely referred to the idea of harmony within the marriage of Rubens and Isabella. The sword is an important piece in Ruben’s noble portrayal here, since the carrying of a sword was a symbol only permitted to those of the elite class. Rubens gained permission when he became the court painter for governors of the Netherlands.The symbols found within the artwork point to self-fashioning by Rubens, because of the aristocratic portrayal and symbolism. This can be seen in the orange silk stockings, the bejeweled hat on his head, and the collar around his neckline. One detail to note is the unbuttoned collar which signifies a marriage formed through an intellectual match. In her left hand, symbolizing both her gentility and femininity, Isabella holds a fan.The pose of the two figures is more casual and modest compared to the noble clothing that they are wearing. Isabella is seated on the ground and recalls the Madonna of Humility, thus constructing an image as a virtuous wife. At the same time, the pose that Rubens constructs Isabella in also displays his attention to her and his overall devotion as a husband.

Prompt: ルーベンスとイザベラ・ブラントの文脈で、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。

Middle Ages
Netherlands
Roman de la Rose


subsection

ルーベンスとイザベラ・ブラント

The honeysuckle plant has had various meanings over the years. Most notably, the meaning that is still associated with the flower, began in the Middle Ages. The overall qualities that the honeysuckle plant symbolized was the idea of lasting pleasure; it also had meanings of steadfastness and permanence. This became a typical symbol found in paintings in the time of Rubens. Another element that may have influenced this was Roman de la Rose, as well as the role of the garden in aristocratic society. In these scenes, women depicted as objects of admiration by their suitors and the garden is full of joyfulness and music.In this painting Rubens and Isabella join their rights hands in an act of Dextrarum iunctio. Dextrarum iunctio was the ceremony of joining the right hands of a couple together, and it has ancient Roman origins. This symbol most likely referred to the idea of harmony within the marriage of Rubens and Isabella. The sword is an important piece in Ruben’s noble portrayal here, since the carrying of a sword was a symbol only permitted to those of the elite class. Rubens gained permission when he became the court painter for governors of the Netherlands.The symbols found within the artwork point to self-fashioning by Rubens, because of the aristocratic portrayal and symbolism. This can be seen in the orange silk stockings, the bejeweled hat on his head, and the collar around his neckline. One detail to note is the unbuttoned collar which signifies a marriage formed through an intellectual match. In her left hand, symbolizing both her gentility and femininity, Isabella holds a fan.The pose of the two figures is more casual and modest compared to the noble clothing that they are wearing. Isabella is seated on the ground and recalls the Madonna of Humility, thus constructing an image as a virtuous wife. At the same time, the pose that Rubens constructs Isabella in also displays his attention to her and his overall devotion as a husband.

Prompt: ルーベンスとイザベラ・ブラント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。

Middle Ages
Netherlands
Roman de la Rose