section

ザ・スフィア

The creation of the originally titled Große Kugelkaryatide N.Y. / Great  Caryatid  Sphere  N.Y.   dates to the 1960s and early 1970s. At that time Fritz Koenig was established as an artist in the United States. After the World Trade Center's architect Minoru Yamasaki had seen the work of the German sculptor in the George W. Staempfli Gallery in New York, he asked Koenig to create a sculpture including a fountain for the space between the World Trade Center's twin towers, which were then under construction. In 1967, Koenig was awarded the contract by the Port Authority of New York and New Jersey as the client and property owner of the development.The Sphere falls into Koenig's creative phase of various caryatids, in which Koenig stages a struggle with constricting or burdensome geometrizing masses. With his sculpture Koenig wanted to mark a formal contrast to the skyscrapers. Mounted on a porphyry disk measuring  high, with a diameter of , the sphere rotated once around its axis within 15 minutes. One hundred and sixty gallons of water  per second flowed out of the nozzles of the associated Plaza Fountain. The well water was sprayed in a ring running around the sphere onto a flat surface adjacent to the sphere. This should give the impression that the spherical caryatid rises out of the water. The highly complex technology of the system was designed at the Institute for Hydrology and River Basin Management at the Technical University of Munich, where Koenig had been a lecturer since 1964. The largest bronze sculpture of modern times weighs over twenty tons, is  high and has a diameter of . Koenig called it his "biggest child".The sculpture was made between late 1968/early 1969 to the end of 1971 in Ganslberg near ndshut, where Fritz Koenig lived. The work on the plaster model in its original size required the construction of a new workshop hall near Koenig's homestead and actual studio. Koenig was supported in the production of his work of art by his long-time assistant Hugo Jahn and the South Tyrolean sculptor Josef Plankensteiner. From 1969 the plaster elements of the sphere, dismantled into 67 individual parts, were cast in bronze in the Munich art foundry Hans Mayr. Then the individual bronze segments with a total combined weight of seventeen tons were brought to the workshop in Ganslberg and assembled there. After four years of planning and manufacturing, the finished sculpture was dismantled again and transported to the port of Bremen with low loaders and trucks. The bronze elements of the sphere and the base were put together again on site so that Koenig's sculpture as a whole could set off by sea across the Atlantic to New York in a specially made, oversized wooden transport box. In 1971, The Sphere was finally installed on the World Trade Center's plaza and ceremoniously unveiled a little later. The sculpture, including the fountain, marked the center of the development and was a popular meeting place for New Yorkers. The work of art was dedicated to "world peace through trade". The original name "Große Kugelkaryatide N.Y." did not catch on with the New Yorkers. They called the spherical sculpture "Koenig Sphere" or simply "The Sphere".

Prompt: ザ・スフィアのアートワークを説明してください。英語で出力して下さい。


section

ザ・スフィア

The creation of the originally titled Große Kugelkaryatide N.Y. / Great  Caryatid  Sphere  N.Y.   dates to the 1960s and early 1970s. At that time Fritz Koenig was established as an artist in the United States. After the World Trade Center's architect Minoru Yamasaki had seen the work of the German sculptor in the George W. Staempfli Gallery in New York, he asked Koenig to create a sculpture including a fountain for the space between the World Trade Center's twin towers, which were then under construction. In 1967, Koenig was awarded the contract by the Port Authority of New York and New Jersey as the client and property owner of the development.The Sphere falls into Koenig's creative phase of various caryatids, in which Koenig stages a struggle with constricting or burdensome geometrizing masses. With his sculpture Koenig wanted to mark a formal contrast to the skyscrapers. Mounted on a porphyry disk measuring  high, with a diameter of , the sphere rotated once around its axis within 15 minutes. One hundred and sixty gallons of water  per second flowed out of the nozzles of the associated Plaza Fountain. The well water was sprayed in a ring running around the sphere onto a flat surface adjacent to the sphere. This should give the impression that the spherical caryatid rises out of the water. The highly complex technology of the system was designed at the Institute for Hydrology and River Basin Management at the Technical University of Munich, where Koenig had been a lecturer since 1964. The largest bronze sculpture of modern times weighs over twenty tons, is  high and has a diameter of . Koenig called it his "biggest child".The sculpture was made between late 1968/early 1969 to the end of 1971 in Ganslberg near ndshut, where Fritz Koenig lived. The work on the plaster model in its original size required the construction of a new workshop hall near Koenig's homestead and actual studio. Koenig was supported in the production of his work of art by his long-time assistant Hugo Jahn and the South Tyrolean sculptor Josef Plankensteiner. From 1969 the plaster elements of the sphere, dismantled into 67 individual parts, were cast in bronze in the Munich art foundry Hans Mayr. Then the individual bronze segments with a total combined weight of seventeen tons were brought to the workshop in Ganslberg and assembled there. After four years of planning and manufacturing, the finished sculpture was dismantled again and transported to the port of Bremen with low loaders and trucks. The bronze elements of the sphere and the base were put together again on site so that Koenig's sculpture as a whole could set off by sea across the Atlantic to New York in a specially made, oversized wooden transport box. In 1971, The Sphere was finally installed on the World Trade Center's plaza and ceremoniously unveiled a little later. The sculpture, including the fountain, marked the center of the development and was a popular meeting place for New Yorkers. The work of art was dedicated to "world peace through trade". The original name "Große Kugelkaryatide N.Y." did not catch on with the New Yorkers. They called the spherical sculpture "Koenig Sphere" or simply "The Sphere".

Prompt: ザ・スフィアはどのようにアートワークを説明していますか？英語で出力して下さい。


section

ザ・スフィア

The creation of the originally titled Große Kugelkaryatide N.Y. / Great  Caryatid  Sphere  N.Y.   dates to the 1960s and early 1970s. At that time Fritz Koenig was established as an artist in the United States. After the World Trade Center's architect Minoru Yamasaki had seen the work of the German sculptor in the George W. Staempfli Gallery in New York, he asked Koenig to create a sculpture including a fountain for the space between the World Trade Center's twin towers, which were then under construction. In 1967, Koenig was awarded the contract by the Port Authority of New York and New Jersey as the client and property owner of the development.The Sphere falls into Koenig's creative phase of various caryatids, in which Koenig stages a struggle with constricting or burdensome geometrizing masses. With his sculpture Koenig wanted to mark a formal contrast to the skyscrapers. Mounted on a porphyry disk measuring  high, with a diameter of , the sphere rotated once around its axis within 15 minutes. One hundred and sixty gallons of water  per second flowed out of the nozzles of the associated Plaza Fountain. The well water was sprayed in a ring running around the sphere onto a flat surface adjacent to the sphere. This should give the impression that the spherical caryatid rises out of the water. The highly complex technology of the system was designed at the Institute for Hydrology and River Basin Management at the Technical University of Munich, where Koenig had been a lecturer since 1964. The largest bronze sculpture of modern times weighs over twenty tons, is  high and has a diameter of . Koenig called it his "biggest child".The sculpture was made between late 1968/early 1969 to the end of 1971 in Ganslberg near ndshut, where Fritz Koenig lived. The work on the plaster model in its original size required the construction of a new workshop hall near Koenig's homestead and actual studio. Koenig was supported in the production of his work of art by his long-time assistant Hugo Jahn and the South Tyrolean sculptor Josef Plankensteiner. From 1969 the plaster elements of the sphere, dismantled into 67 individual parts, were cast in bronze in the Munich art foundry Hans Mayr. Then the individual bronze segments with a total combined weight of seventeen tons were brought to the workshop in Ganslberg and assembled there. After four years of planning and manufacturing, the finished sculpture was dismantled again and transported to the port of Bremen with low loaders and trucks. The bronze elements of the sphere and the base were put together again on site so that Koenig's sculpture as a whole could set off by sea across the Atlantic to New York in a specially made, oversized wooden transport box. In 1971, The Sphere was finally installed on the World Trade Center's plaza and ceremoniously unveiled a little later. The sculpture, including the fountain, marked the center of the development and was a popular meeting place for New Yorkers. The work of art was dedicated to "world peace through trade". The original name "Große Kugelkaryatide N.Y." did not catch on with the New Yorkers. They called the spherical sculpture "Koenig Sphere" or simply "The Sphere".

Prompt: ザ・スフィアに関して、どのようにアートワークが議論されていますか？英語で出力して下さい。


section

ザ・スフィア

Plop art Artwork damaged or destroyed in the September 11 attacks

Prompt: ザ・スフィアに焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

ザ・スフィア

Plop art Artwork damaged or destroyed in the September 11 attacks

Prompt: ザ・スフィアの参照を説明してください。英語で出力して下さい。


section

ザ・スフィア

Plop art Artwork damaged or destroyed in the September 11 attacks

Prompt: ザ・スフィアはどのように参照を説明していますか？英語で出力して下さい。


section

ザ・スフィア

Plop art Artwork damaged or destroyed in the September 11 attacks

Prompt: ザ・スフィアに関して、どのように参照が議論されていますか？英語で出力して下さい。


section

ザ・スフィア

width  = 240px image1 =  image2 = }} Holger A. Klein:

Prompt: ザ・スフィアに焦点を当てて、その外部リンクを説明してください。英語で出力して下さい。


section

ザ・スフィア

width  = 240px image1 =  image2 = }} Holger A. Klein:

Prompt: ザ・スフィアの外部リンクを説明してください。英語で出力して下さい。


section

ザ・スフィア

width  = 240px image1 =  image2 = }} Holger A. Klein:

Prompt: ザ・スフィアはどのように外部リンクを説明していますか？英語で出力して下さい。


section

ザ・スフィア

width  = 240px image1 =  image2 = }} Holger A. Klein:

Prompt: ザ・スフィアに関して、どのように外部リンクが議論されていますか？英語で出力して下さい。


subsection

ザ・スフィア

After the September 11 attacks, upon recovery from the rubble pile the sculpture was dismantled and sent to storage near John F. Kennedy International Airport. Its extraction had been widely covered in local news media in the New York metropolitan area. As it was a memorable feature of the Twin Towers site, there was much discussion about using it in a memorial, especially since it seemed to have survived the attacks relatively intact.German film director Percy Adlon, who had twice previously devoted films to Koenig, made Koenigs Kugel  at a time when the sculpture's fate was still uncertain. In the film, the artist and the director visit Ground Zero five weeks after the attacks as the former retells the story of its creation. At first, Koenig opposed reinstalling The Sphere, considering it "a beautiful corpse".

Prompt: ザ・スフィアの文脈で、攻撃直後とアートワークを説明してください。英語で出力して下さい。

John F. Kennedy International Airport
New York metropolitan area
Percy Adlon
September 11 attacks


subsection

ザ・スフィア

After the September 11 attacks, upon recovery from the rubble pile the sculpture was dismantled and sent to storage near John F. Kennedy International Airport. Its extraction had been widely covered in local news media in the New York metropolitan area. As it was a memorable feature of the Twin Towers site, there was much discussion about using it in a memorial, especially since it seemed to have survived the attacks relatively intact.German film director Percy Adlon, who had twice previously devoted films to Koenig, made Koenigs Kugel  at a time when the sculpture's fate was still uncertain. In the film, the artist and the director visit Ground Zero five weeks after the attacks as the former retells the story of its creation. At first, Koenig opposed reinstalling The Sphere, considering it "a beautiful corpse".

Prompt: ザ・スフィアのアートワークに関する攻撃直後を説明してください。英語で出力して下さい。

John F. Kennedy International Airport
New York metropolitan area
Percy Adlon
September 11 attacks


subsection

ザ・スフィア

After the September 11 attacks, upon recovery from the rubble pile the sculpture was dismantled and sent to storage near John F. Kennedy International Airport. Its extraction had been widely covered in local news media in the New York metropolitan area. As it was a memorable feature of the Twin Towers site, there was much discussion about using it in a memorial, especially since it seemed to have survived the attacks relatively intact.German film director Percy Adlon, who had twice previously devoted films to Koenig, made Koenigs Kugel  at a time when the sculpture's fate was still uncertain. In the film, the artist and the director visit Ground Zero five weeks after the attacks as the former retells the story of its creation. At first, Koenig opposed reinstalling The Sphere, considering it "a beautiful corpse".

Prompt: ザ・スフィアでは、どのようにアートワークの攻撃直後が説明されていますか？英語で出力して下さい。

John F. Kennedy International Airport
New York metropolitan area
Percy Adlon
September 11 attacks


subsection

ザ・スフィア

After the September 11 attacks, upon recovery from the rubble pile the sculpture was dismantled and sent to storage near John F. Kennedy International Airport. Its extraction had been widely covered in local news media in the New York metropolitan area. As it was a memorable feature of the Twin Towers site, there was much discussion about using it in a memorial, especially since it seemed to have survived the attacks relatively intact.German film director Percy Adlon, who had twice previously devoted films to Koenig, made Koenigs Kugel  at a time when the sculpture's fate was still uncertain. In the film, the artist and the director visit Ground Zero five weeks after the attacks as the former retells the story of its creation. At first, Koenig opposed reinstalling The Sphere, considering it "a beautiful corpse".

Prompt: ザ・スフィアのアートワークにおける攻撃直後の特徴を説明してください。英語で出力して下さい。

John F. Kennedy International Airport
New York metropolitan area
Percy Adlon
September 11 attacks


subsection

ザ・スフィア

The sculpture was eventually returned to Manhattan, and on March 11, 2002, six months to the day after the attacks, it was re-erected in Battery Park, near the Hope Garden, several blocks away from where it once stood. Koenig himself supervised the work; it took four engineers and 15 ironworkers to create a new base. Mayor Michael Bloomberg, his predecessor Rudy Giuliani and other local officials spoke at a ceremony rededicating it as a memorial to the victims. "It was a sculpture, now it's a monument", Koenig said, noting how the relatively fragile metal globe had mostly survived the cataclysm. "It now has a different beauty, one I could never imagine. It has its own life – different from the one I gave to it."A plaque alongside The Sphere read as follows:This eternal flame was ignited on September 11, 2002 in honor of all those who were lost. Their spirit and sacrifice will never be forgotten.}}

Prompt: ザ・スフィアの文脈で、バッテリーパークへの移転とアートワークを説明してください。英語で出力して下さい。


subsection

ザ・スフィア

The sculpture was eventually returned to Manhattan, and on March 11, 2002, six months to the day after the attacks, it was re-erected in Battery Park, near the Hope Garden, several blocks away from where it once stood. Koenig himself supervised the work; it took four engineers and 15 ironworkers to create a new base. Mayor Michael Bloomberg, his predecessor Rudy Giuliani and other local officials spoke at a ceremony rededicating it as a memorial to the victims. "It was a sculpture, now it's a monument", Koenig said, noting how the relatively fragile metal globe had mostly survived the cataclysm. "It now has a different beauty, one I could never imagine. It has its own life – different from the one I gave to it."A plaque alongside The Sphere read as follows:This eternal flame was ignited on September 11, 2002 in honor of all those who were lost. Their spirit and sacrifice will never be forgotten.}}

Prompt: ザ・スフィアのアートワークに関するバッテリーパークへの移転を説明してください。英語で出力して下さい。


subsection

ザ・スフィア

The sculpture was eventually returned to Manhattan, and on March 11, 2002, six months to the day after the attacks, it was re-erected in Battery Park, near the Hope Garden, several blocks away from where it once stood. Koenig himself supervised the work; it took four engineers and 15 ironworkers to create a new base. Mayor Michael Bloomberg, his predecessor Rudy Giuliani and other local officials spoke at a ceremony rededicating it as a memorial to the victims. "It was a sculpture, now it's a monument", Koenig said, noting how the relatively fragile metal globe had mostly survived the cataclysm. "It now has a different beauty, one I could never imagine. It has its own life – different from the one I gave to it."A plaque alongside The Sphere read as follows:This eternal flame was ignited on September 11, 2002 in honor of all those who were lost. Their spirit and sacrifice will never be forgotten.}}

Prompt: ザ・スフィアでは、どのようにアートワークのバッテリーパークへの移転が説明されていますか？英語で出力して下さい。


subsection

ザ・スフィア

The sculpture was eventually returned to Manhattan, and on March 11, 2002, six months to the day after the attacks, it was re-erected in Battery Park, near the Hope Garden, several blocks away from where it once stood. Koenig himself supervised the work; it took four engineers and 15 ironworkers to create a new base. Mayor Michael Bloomberg, his predecessor Rudy Giuliani and other local officials spoke at a ceremony rededicating it as a memorial to the victims. "It was a sculpture, now it's a monument", Koenig said, noting how the relatively fragile metal globe had mostly survived the cataclysm. "It now has a different beauty, one I could never imagine. It has its own life – different from the one I gave to it."A plaque alongside The Sphere read as follows:This eternal flame was ignited on September 11, 2002 in honor of all those who were lost. Their spirit and sacrifice will never be forgotten.}}

Prompt: ザ・スフィアのアートワークにおけるバッテリーパークへの移転の特徴を説明してください。英語で出力して下さい。


subsection

ザ・スフィア

According to NYC Parks spokeswoman Vickie Karp, the city was looking to relocate The Sphere in summer 2012, when construction began to restore Battery Park's lawn, requiring the sculpture to be moved. The Port Authority of New York and New Jersey , which owns The Sphere, considered placing the sculpture in Liberty Park, located between the 90 West Street building and the World Trade Center Memorial site. Liberty Park would not be constructed until at least 2014, so a temporary location was needed to place The Sphere. By February 2011, PANYNJ had not made an official final decision on where to place the sculpture once Battery Park construction commenced, requiring the sculpture to be moved, possibly into storage.An online petition created by 9/11 families demanding the return of The Sphere to the 9/11 Memorial gained more than 7,123 signatures . Officials from the 9/11 Memorial stated that they did not want any 9/11 artifacts cluttering the 8-acre memorial plaza. After a public comment by Michael Burke during a meeting of the Board of Commissioners, Executive Director Patrick J. Foye stated:When Liberty Park opened in June 2016, the question had not been resolved. On July 22, 2016, the Port Authority voted to move the sculpture to Liberty Park, and in August 2017, PANYNJ relocated the sculpture to Liberty Park. On September 6, 2017, the Sphere was unveiled in its permanent home in Liberty Park, overlooking the World Trade Center site. The Port Authority of New York and New Jersey held a ceremony at Liberty Park on November 29, 2017, to mark its return to the World Trade Center site.

Prompt: ザ・スフィアの文脈で、リバティパークへの移転とアートワークを説明してください。英語で出力して下さい。


subsection

ザ・スフィア

According to NYC Parks spokeswoman Vickie Karp, the city was looking to relocate The Sphere in summer 2012, when construction began to restore Battery Park's lawn, requiring the sculpture to be moved. The Port Authority of New York and New Jersey , which owns The Sphere, considered placing the sculpture in Liberty Park, located between the 90 West Street building and the World Trade Center Memorial site. Liberty Park would not be constructed until at least 2014, so a temporary location was needed to place The Sphere. By February 2011, PANYNJ had not made an official final decision on where to place the sculpture once Battery Park construction commenced, requiring the sculpture to be moved, possibly into storage.An online petition created by 9/11 families demanding the return of The Sphere to the 9/11 Memorial gained more than 7,123 signatures . Officials from the 9/11 Memorial stated that they did not want any 9/11 artifacts cluttering the 8-acre memorial plaza. After a public comment by Michael Burke during a meeting of the Board of Commissioners, Executive Director Patrick J. Foye stated:When Liberty Park opened in June 2016, the question had not been resolved. On July 22, 2016, the Port Authority voted to move the sculpture to Liberty Park, and in August 2017, PANYNJ relocated the sculpture to Liberty Park. On September 6, 2017, the Sphere was unveiled in its permanent home in Liberty Park, overlooking the World Trade Center site. The Port Authority of New York and New Jersey held a ceremony at Liberty Park on November 29, 2017, to mark its return to the World Trade Center site.

Prompt: ザ・スフィアのアートワークに関するリバティパークへの移転を説明してください。英語で出力して下さい。


subsection

ザ・スフィア

According to NYC Parks spokeswoman Vickie Karp, the city was looking to relocate The Sphere in summer 2012, when construction began to restore Battery Park's lawn, requiring the sculpture to be moved. The Port Authority of New York and New Jersey , which owns The Sphere, considered placing the sculpture in Liberty Park, located between the 90 West Street building and the World Trade Center Memorial site. Liberty Park would not be constructed until at least 2014, so a temporary location was needed to place The Sphere. By February 2011, PANYNJ had not made an official final decision on where to place the sculpture once Battery Park construction commenced, requiring the sculpture to be moved, possibly into storage.An online petition created by 9/11 families demanding the return of The Sphere to the 9/11 Memorial gained more than 7,123 signatures . Officials from the 9/11 Memorial stated that they did not want any 9/11 artifacts cluttering the 8-acre memorial plaza. After a public comment by Michael Burke during a meeting of the Board of Commissioners, Executive Director Patrick J. Foye stated:When Liberty Park opened in June 2016, the question had not been resolved. On July 22, 2016, the Port Authority voted to move the sculpture to Liberty Park, and in August 2017, PANYNJ relocated the sculpture to Liberty Park. On September 6, 2017, the Sphere was unveiled in its permanent home in Liberty Park, overlooking the World Trade Center site. The Port Authority of New York and New Jersey held a ceremony at Liberty Park on November 29, 2017, to mark its return to the World Trade Center site.

Prompt: ザ・スフィアでは、どのようにアートワークのリバティパークへの移転が説明されていますか？英語で出力して下さい。


subsection

ザ・スフィア

According to NYC Parks spokeswoman Vickie Karp, the city was looking to relocate The Sphere in summer 2012, when construction began to restore Battery Park's lawn, requiring the sculpture to be moved. The Port Authority of New York and New Jersey , which owns The Sphere, considered placing the sculpture in Liberty Park, located between the 90 West Street building and the World Trade Center Memorial site. Liberty Park would not be constructed until at least 2014, so a temporary location was needed to place The Sphere. By February 2011, PANYNJ had not made an official final decision on where to place the sculpture once Battery Park construction commenced, requiring the sculpture to be moved, possibly into storage.An online petition created by 9/11 families demanding the return of The Sphere to the 9/11 Memorial gained more than 7,123 signatures . Officials from the 9/11 Memorial stated that they did not want any 9/11 artifacts cluttering the 8-acre memorial plaza. After a public comment by Michael Burke during a meeting of the Board of Commissioners, Executive Director Patrick J. Foye stated:When Liberty Park opened in June 2016, the question had not been resolved. On July 22, 2016, the Port Authority voted to move the sculpture to Liberty Park, and in August 2017, PANYNJ relocated the sculpture to Liberty Park. On September 6, 2017, the Sphere was unveiled in its permanent home in Liberty Park, overlooking the World Trade Center site. The Port Authority of New York and New Jersey held a ceremony at Liberty Park on November 29, 2017, to mark its return to the World Trade Center site.

Prompt: ザ・スフィアのアートワークにおけるリバティパークへの移転の特徴を説明してください。英語で出力して下さい。


subsection

ザ・スフィア

In his documentary Koenigs Kugel - der deutsche Bildhauer Fritz Koenig im Trümmerfeld von Ground Zero , the German director Percy Adlon shows Koenig's encounter with his badly damaged work of art a few days after the September 11 attacks and its subsequent conversion to a memorial. In it, Koenig recalls The Sphere origin and talks about transience and the transformation of art following the attacks.

Prompt: ザ・スフィアの文脈で、ドキュメンタリーとアートワークを説明してください。英語で出力して下さい。

Fritz Koenig
Percy Adlon
September 11 attacks


subsection

ザ・スフィア

In his documentary Koenigs Kugel - der deutsche Bildhauer Fritz Koenig im Trümmerfeld von Ground Zero , the German director Percy Adlon shows Koenig's encounter with his badly damaged work of art a few days after the September 11 attacks and its subsequent conversion to a memorial. In it, Koenig recalls The Sphere origin and talks about transience and the transformation of art following the attacks.

Prompt: ザ・スフィアのアートワークに関するドキュメンタリーを説明してください。英語で出力して下さい。

Fritz Koenig
Percy Adlon
September 11 attacks


subsection

ザ・スフィア

In his documentary Koenigs Kugel - der deutsche Bildhauer Fritz Koenig im Trümmerfeld von Ground Zero , the German director Percy Adlon shows Koenig's encounter with his badly damaged work of art a few days after the September 11 attacks and its subsequent conversion to a memorial. In it, Koenig recalls The Sphere origin and talks about transience and the transformation of art following the attacks.

Prompt: ザ・スフィアでは、どのようにアートワークのドキュメンタリーが説明されていますか？英語で出力して下さい。

Fritz Koenig
Percy Adlon
September 11 attacks


subsection

ザ・スフィア

In his documentary Koenigs Kugel - der deutsche Bildhauer Fritz Koenig im Trümmerfeld von Ground Zero , the German director Percy Adlon shows Koenig's encounter with his badly damaged work of art a few days after the September 11 attacks and its subsequent conversion to a memorial. In it, Koenig recalls The Sphere origin and talks about transience and the transformation of art following the attacks.

Prompt: ザ・スフィアのアートワークにおけるドキュメンタリーの特徴を説明してください。英語で出力して下さい。

Fritz Koenig
Percy Adlon
September 11 attacks


subsection

ザ・スフィア

A limited edition of the book THE SPHERE - Vom Kunstwerk zum Mahnmal / THE SPHERE - From Artwork to Memorial was published in June 2021, the 50th anniversary of the sculpture's installation.

Prompt: ザ・スフィアの文脈で、本とアートワークを説明してください。英語で出力して下さい。


subsection

ザ・スフィア

A limited edition of the book THE SPHERE - Vom Kunstwerk zum Mahnmal / THE SPHERE - From Artwork to Memorial was published in June 2021, the 50th anniversary of the sculpture's installation.

Prompt: ザ・スフィアのアートワークに関する本を説明してください。英語で出力して下さい。


subsection

ザ・スフィア

A limited edition of the book THE SPHERE - Vom Kunstwerk zum Mahnmal / THE SPHERE - From Artwork to Memorial was published in June 2021, the 50th anniversary of the sculpture's installation.

Prompt: ザ・スフィアでは、どのようにアートワークの本が説明されていますか？英語で出力して下さい。


subsection

ザ・スフィア

A limited edition of the book THE SPHERE - Vom Kunstwerk zum Mahnmal / THE SPHERE - From Artwork to Memorial was published in June 2021, the 50th anniversary of the sculpture's installation.

Prompt: ザ・スフィアのアートワークにおける本の特徴を説明してください。英語で出力して下さい。


section

フォリー・ベルジェールのバー

A Bar at the Folies-Bergère  is a painting by Édouard Manet, considered to be his last major work. It was painted in 1882 and exhibited at the Paris Salon of that year. It depicts a scene in the Folies Bergère nightclub in Paris. The painting originally belonged to the composer Emmanuel Chabrier, a close friend of Manet, and hung over his piano. It is now in the Courtauld Gallery in London.

Prompt: フォリー・ベルジェールのバーに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Courtauld Gallery
Emmanuel Chabrier
Folies Bergère
London
Édouard Manet


section

フォリー・ベルジェールのバー

A Bar at the Folies-Bergère  is a painting by Édouard Manet, considered to be his last major work. It was painted in 1882 and exhibited at the Paris Salon of that year. It depicts a scene in the Folies Bergère nightclub in Paris. The painting originally belonged to the composer Emmanuel Chabrier, a close friend of Manet, and hung over his piano. It is now in the Courtauld Gallery in London.

Prompt: フォリー・ベルジェールのバーの抽象を説明してください。英語で出力して下さい。

Courtauld Gallery
Emmanuel Chabrier
Folies Bergère
London
Édouard Manet


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フォリー・ベルジェールのバー

A Bar at the Folies-Bergère  is a painting by Édouard Manet, considered to be his last major work. It was painted in 1882 and exhibited at the Paris Salon of that year. It depicts a scene in the Folies Bergère nightclub in Paris. The painting originally belonged to the composer Emmanuel Chabrier, a close friend of Manet, and hung over his piano. It is now in the Courtauld Gallery in London.

Prompt: フォリー・ベルジェールのバー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。

Courtauld Gallery
Emmanuel Chabrier
Folies Bergère
London
Édouard Manet


section

フォリー・ベルジェールのバー

A Bar at the Folies-Bergère  is a painting by Édouard Manet, considered to be his last major work. It was painted in 1882 and exhibited at the Paris Salon of that year. It depicts a scene in the Folies Bergère nightclub in Paris. The painting originally belonged to the composer Emmanuel Chabrier, a close friend of Manet, and hung over his piano. It is now in the Courtauld Gallery in London.

Prompt: フォリー・ベルジェールのバーに関して、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。

Courtauld Gallery
Emmanuel Chabrier
Folies Bergère
London
Édouard Manet


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フォリー・ベルジェールのバー

The painting exemplifies Manet's commitment to Realism in its detailed representation of a contemporary scene. Many features have puzzled critics but almost all of them have been shown to have a rationale, and the painting has been the subject of numerous popular and scholarly articles.The central figure stands before a mirror, although critics—accusing Manet of ignorance of perspective and alleging various impossibilities in the painting—have debated this point since the earliest reviews were published. In 2000, however, a photograph taken from a suitable point of view of a staged reconstruction was shown to reproduce the scene as painted by Manet. According to this reconstruction, "the conversation that many have assumed was transpiring between the barmaid and gentleman is revealed to be an optical trick—the man stands outside the painter's field of vision, to the left, and looks away from the barmaid, rather than standing right in front of her." It provides a meaningful parallel with , a masterpiece by an artist Manet admired, Diego Velázquez. There has been a considerable development of this topic since Michel Foucault broached it in his book The Order of Things .The art historian Jeffrey Meyers describes the intentional play on perspective and the apparent violation of the operations of mirrors: "Behind her, and extending for the entire length of the four-and-a-quarter-foot painting, is the gold frame of an enormous mirror. The French philosopher Maurice Merleau-Ponty has called a mirror 'the instrument of a universal magic that changes things into spectacles, spectacles into things, me into others, and others into me.' We, the viewers, stand opposite the barmaid on the other side of the counter and, looking at the reflection in the mirror, see exactly what she sees... A critic has noted that Manet's 'preliminary study shows her placed off to the right, whereas in the finished canvas she is very much the centre of attention.' Though Manet shifted her from the right to the center, he kept her reflection on the right. Seen in the mirror, she seems engaged with a customer; in full face, she's self-protectively withdrawn and remote."The painting is rich in details which provide clues to social class and milieu. The woman at the bar is a real person, known as Suzon, who worked at the Folies-Bergère in the early 1880s. For his painting, Manet posed her in his studio. By including a dish of oranges in the foreground, Manet identifies the barmaid as a prostitute, according to art historian rry L. Ligo, who says that Manet habitually associated oranges with prostitution in his paintings.Other notable details include the pair of green feet in the upper left-hand corner, which belong to a trapeze artist who is performing above the restaurant's patrons. The beer bottles depicted are easily identified by the red triangle on the label as Bass Pale Ale, and the conspicuous presence of this British brand instead of German beer has been interpreted as documentation of anti-German sentiment in France in the decade after the Franco-Prussian War.

Prompt: フォリー・ベルジェールのバーに焦点を当てて、その絵画を説明してください。英語で出力して下さい。

Diego Velázquez
Franco-Prussian War
Maurice Merleau-Ponty
Michel Foucault
The Order of Things


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フォリー・ベルジェールのバー

The painting exemplifies Manet's commitment to Realism in its detailed representation of a contemporary scene. Many features have puzzled critics but almost all of them have been shown to have a rationale, and the painting has been the subject of numerous popular and scholarly articles.The central figure stands before a mirror, although critics—accusing Manet of ignorance of perspective and alleging various impossibilities in the painting—have debated this point since the earliest reviews were published. In 2000, however, a photograph taken from a suitable point of view of a staged reconstruction was shown to reproduce the scene as painted by Manet. According to this reconstruction, "the conversation that many have assumed was transpiring between the barmaid and gentleman is revealed to be an optical trick—the man stands outside the painter's field of vision, to the left, and looks away from the barmaid, rather than standing right in front of her." It provides a meaningful parallel with , a masterpiece by an artist Manet admired, Diego Velázquez. There has been a considerable development of this topic since Michel Foucault broached it in his book The Order of Things .The art historian Jeffrey Meyers describes the intentional play on perspective and the apparent violation of the operations of mirrors: "Behind her, and extending for the entire length of the four-and-a-quarter-foot painting, is the gold frame of an enormous mirror. The French philosopher Maurice Merleau-Ponty has called a mirror 'the instrument of a universal magic that changes things into spectacles, spectacles into things, me into others, and others into me.' We, the viewers, stand opposite the barmaid on the other side of the counter and, looking at the reflection in the mirror, see exactly what she sees... A critic has noted that Manet's 'preliminary study shows her placed off to the right, whereas in the finished canvas she is very much the centre of attention.' Though Manet shifted her from the right to the center, he kept her reflection on the right. Seen in the mirror, she seems engaged with a customer; in full face, she's self-protectively withdrawn and remote."The painting is rich in details which provide clues to social class and milieu. The woman at the bar is a real person, known as Suzon, who worked at the Folies-Bergère in the early 1880s. For his painting, Manet posed her in his studio. By including a dish of oranges in the foreground, Manet identifies the barmaid as a prostitute, according to art historian rry L. Ligo, who says that Manet habitually associated oranges with prostitution in his paintings.Other notable details include the pair of green feet in the upper left-hand corner, which belong to a trapeze artist who is performing above the restaurant's patrons. The beer bottles depicted are easily identified by the red triangle on the label as Bass Pale Ale, and the conspicuous presence of this British brand instead of German beer has been interpreted as documentation of anti-German sentiment in France in the decade after the Franco-Prussian War.

Prompt: フォリー・ベルジェールのバーの絵画を説明してください。英語で出力して下さい。

Diego Velázquez
Franco-Prussian War
Maurice Merleau-Ponty
Michel Foucault
The Order of Things


section

フォリー・ベルジェールのバー

The painting exemplifies Manet's commitment to Realism in its detailed representation of a contemporary scene. Many features have puzzled critics but almost all of them have been shown to have a rationale, and the painting has been the subject of numerous popular and scholarly articles.The central figure stands before a mirror, although critics—accusing Manet of ignorance of perspective and alleging various impossibilities in the painting—have debated this point since the earliest reviews were published. In 2000, however, a photograph taken from a suitable point of view of a staged reconstruction was shown to reproduce the scene as painted by Manet. According to this reconstruction, "the conversation that many have assumed was transpiring between the barmaid and gentleman is revealed to be an optical trick—the man stands outside the painter's field of vision, to the left, and looks away from the barmaid, rather than standing right in front of her." It provides a meaningful parallel with , a masterpiece by an artist Manet admired, Diego Velázquez. There has been a considerable development of this topic since Michel Foucault broached it in his book The Order of Things .The art historian Jeffrey Meyers describes the intentional play on perspective and the apparent violation of the operations of mirrors: "Behind her, and extending for the entire length of the four-and-a-quarter-foot painting, is the gold frame of an enormous mirror. The French philosopher Maurice Merleau-Ponty has called a mirror 'the instrument of a universal magic that changes things into spectacles, spectacles into things, me into others, and others into me.' We, the viewers, stand opposite the barmaid on the other side of the counter and, looking at the reflection in the mirror, see exactly what she sees... A critic has noted that Manet's 'preliminary study shows her placed off to the right, whereas in the finished canvas she is very much the centre of attention.' Though Manet shifted her from the right to the center, he kept her reflection on the right. Seen in the mirror, she seems engaged with a customer; in full face, she's self-protectively withdrawn and remote."The painting is rich in details which provide clues to social class and milieu. The woman at the bar is a real person, known as Suzon, who worked at the Folies-Bergère in the early 1880s. For his painting, Manet posed her in his studio. By including a dish of oranges in the foreground, Manet identifies the barmaid as a prostitute, according to art historian rry L. Ligo, who says that Manet habitually associated oranges with prostitution in his paintings.Other notable details include the pair of green feet in the upper left-hand corner, which belong to a trapeze artist who is performing above the restaurant's patrons. The beer bottles depicted are easily identified by the red triangle on the label as Bass Pale Ale, and the conspicuous presence of this British brand instead of German beer has been interpreted as documentation of anti-German sentiment in France in the decade after the Franco-Prussian War.

Prompt: フォリー・ベルジェールのバーはどのように絵画を説明していますか？英語で出力して下さい。

Diego Velázquez
Franco-Prussian War
Maurice Merleau-Ponty
Michel Foucault
The Order of Things


section

フォリー・ベルジェールのバー

The painting exemplifies Manet's commitment to Realism in its detailed representation of a contemporary scene. Many features have puzzled critics but almost all of them have been shown to have a rationale, and the painting has been the subject of numerous popular and scholarly articles.The central figure stands before a mirror, although critics—accusing Manet of ignorance of perspective and alleging various impossibilities in the painting—have debated this point since the earliest reviews were published. In 2000, however, a photograph taken from a suitable point of view of a staged reconstruction was shown to reproduce the scene as painted by Manet. According to this reconstruction, "the conversation that many have assumed was transpiring between the barmaid and gentleman is revealed to be an optical trick—the man stands outside the painter's field of vision, to the left, and looks away from the barmaid, rather than standing right in front of her." It provides a meaningful parallel with , a masterpiece by an artist Manet admired, Diego Velázquez. There has been a considerable development of this topic since Michel Foucault broached it in his book The Order of Things .The art historian Jeffrey Meyers describes the intentional play on perspective and the apparent violation of the operations of mirrors: "Behind her, and extending for the entire length of the four-and-a-quarter-foot painting, is the gold frame of an enormous mirror. The French philosopher Maurice Merleau-Ponty has called a mirror 'the instrument of a universal magic that changes things into spectacles, spectacles into things, me into others, and others into me.' We, the viewers, stand opposite the barmaid on the other side of the counter and, looking at the reflection in the mirror, see exactly what she sees... A critic has noted that Manet's 'preliminary study shows her placed off to the right, whereas in the finished canvas she is very much the centre of attention.' Though Manet shifted her from the right to the center, he kept her reflection on the right. Seen in the mirror, she seems engaged with a customer; in full face, she's self-protectively withdrawn and remote."The painting is rich in details which provide clues to social class and milieu. The woman at the bar is a real person, known as Suzon, who worked at the Folies-Bergère in the early 1880s. For his painting, Manet posed her in his studio. By including a dish of oranges in the foreground, Manet identifies the barmaid as a prostitute, according to art historian rry L. Ligo, who says that Manet habitually associated oranges with prostitution in his paintings.Other notable details include the pair of green feet in the upper left-hand corner, which belong to a trapeze artist who is performing above the restaurant's patrons. The beer bottles depicted are easily identified by the red triangle on the label as Bass Pale Ale, and the conspicuous presence of this British brand instead of German beer has been interpreted as documentation of anti-German sentiment in France in the decade after the Franco-Prussian War.

Prompt: フォリー・ベルジェールのバーに関して、どのように絵画が議論されていますか？英語で出力して下さい。

Diego Velázquez
Franco-Prussian War
Maurice Merleau-Ponty
Michel Foucault
The Order of Things


section

フォリー・ベルジェールのバー

The 1934 ballet  with choreography by Ninette de Valois and music of Chabrier was created from, and based around, Manet's painting. The 1947 film The Private Affairs of Bel Ami faithfully references A Bar at the Folies-Bergère twenty nine minutes into the film with a look-alike actress, set and props as the main characters enter the establishment.The painting was the inspiration of a song  in the popular theatre production The Lyric Revue, in London in 1951. The refrain went "Oh, how I long to be back in my dear Brittany[...] But fate has chosen me for the bar at the Folies-Bergères".The painting The Bar  by Australian artist John Brack, which depicts a comparatively grim and austere Melbourne bar-room scene, is an ironic reference to A Bar at the Folies-Bergère.In the 1988 Eddie Murphy film Coming to America, a spoof on the painting in which the barmaids are dark-skinned women in red dresses and there is a hamburger on a plate on the counter can be seen hanging at the McDowell residence.Canadian artist Jeff Wall makes reference to A Bar at the Folies-Bergère in his work Picture for Women . The Tate Modern wall text for Picture for Women, from the 2005–2006 exhibition Jeff Wall Photographs 1978–2004, outlines the influence of Manet's painting:Adventure in Paris, a book in the popular British Oxford Reading Tree scheme for children, clearly references the painting in a scene where the children travel back to 19th-century Paris to enquire as to the whereabouts of the Eiffel Tower.

Prompt: フォリー・ベルジェールのバーに焦点を当てて、その文化的な言及を説明してください。英語で出力して下さい。

Coming to America
Jeff Wall
John Brack
London
Melbourne
Ninette de Valois
Oxford Reading Tree
Picture for Women
Tate Modern
The Private Affairs of Bel Ami


section

フォリー・ベルジェールのバー

The 1934 ballet  with choreography by Ninette de Valois and music of Chabrier was created from, and based around, Manet's painting. The 1947 film The Private Affairs of Bel Ami faithfully references A Bar at the Folies-Bergère twenty nine minutes into the film with a look-alike actress, set and props as the main characters enter the establishment.The painting was the inspiration of a song  in the popular theatre production The Lyric Revue, in London in 1951. The refrain went "Oh, how I long to be back in my dear Brittany[...] But fate has chosen me for the bar at the Folies-Bergères".The painting The Bar  by Australian artist John Brack, which depicts a comparatively grim and austere Melbourne bar-room scene, is an ironic reference to A Bar at the Folies-Bergère.In the 1988 Eddie Murphy film Coming to America, a spoof on the painting in which the barmaids are dark-skinned women in red dresses and there is a hamburger on a plate on the counter can be seen hanging at the McDowell residence.Canadian artist Jeff Wall makes reference to A Bar at the Folies-Bergère in his work Picture for Women . The Tate Modern wall text for Picture for Women, from the 2005–2006 exhibition Jeff Wall Photographs 1978–2004, outlines the influence of Manet's painting:Adventure in Paris, a book in the popular British Oxford Reading Tree scheme for children, clearly references the painting in a scene where the children travel back to 19th-century Paris to enquire as to the whereabouts of the Eiffel Tower.

Prompt: フォリー・ベルジェールのバーの文化的な言及を説明してください。英語で出力して下さい。

Coming to America
Jeff Wall
John Brack
London
Melbourne
Ninette de Valois
Oxford Reading Tree
Picture for Women
Tate Modern
The Private Affairs of Bel Ami


section

フォリー・ベルジェールのバー

The 1934 ballet  with choreography by Ninette de Valois and music of Chabrier was created from, and based around, Manet's painting. The 1947 film The Private Affairs of Bel Ami faithfully references A Bar at the Folies-Bergère twenty nine minutes into the film with a look-alike actress, set and props as the main characters enter the establishment.The painting was the inspiration of a song  in the popular theatre production The Lyric Revue, in London in 1951. The refrain went "Oh, how I long to be back in my dear Brittany[...] But fate has chosen me for the bar at the Folies-Bergères".The painting The Bar  by Australian artist John Brack, which depicts a comparatively grim and austere Melbourne bar-room scene, is an ironic reference to A Bar at the Folies-Bergère.In the 1988 Eddie Murphy film Coming to America, a spoof on the painting in which the barmaids are dark-skinned women in red dresses and there is a hamburger on a plate on the counter can be seen hanging at the McDowell residence.Canadian artist Jeff Wall makes reference to A Bar at the Folies-Bergère in his work Picture for Women . The Tate Modern wall text for Picture for Women, from the 2005–2006 exhibition Jeff Wall Photographs 1978–2004, outlines the influence of Manet's painting:Adventure in Paris, a book in the popular British Oxford Reading Tree scheme for children, clearly references the painting in a scene where the children travel back to 19th-century Paris to enquire as to the whereabouts of the Eiffel Tower.

Prompt: フォリー・ベルジェールのバーはどのように文化的な言及を説明していますか？英語で出力して下さい。

Coming to America
Jeff Wall
John Brack
London
Melbourne
Ninette de Valois
Oxford Reading Tree
Picture for Women
Tate Modern
The Private Affairs of Bel Ami


section

フォリー・ベルジェールのバー

The 1934 ballet  with choreography by Ninette de Valois and music of Chabrier was created from, and based around, Manet's painting. The 1947 film The Private Affairs of Bel Ami faithfully references A Bar at the Folies-Bergère twenty nine minutes into the film with a look-alike actress, set and props as the main characters enter the establishment.The painting was the inspiration of a song  in the popular theatre production The Lyric Revue, in London in 1951. The refrain went "Oh, how I long to be back in my dear Brittany[...] But fate has chosen me for the bar at the Folies-Bergères".The painting The Bar  by Australian artist John Brack, which depicts a comparatively grim and austere Melbourne bar-room scene, is an ironic reference to A Bar at the Folies-Bergère.In the 1988 Eddie Murphy film Coming to America, a spoof on the painting in which the barmaids are dark-skinned women in red dresses and there is a hamburger on a plate on the counter can be seen hanging at the McDowell residence.Canadian artist Jeff Wall makes reference to A Bar at the Folies-Bergère in his work Picture for Women . The Tate Modern wall text for Picture for Women, from the 2005–2006 exhibition Jeff Wall Photographs 1978–2004, outlines the influence of Manet's painting:Adventure in Paris, a book in the popular British Oxford Reading Tree scheme for children, clearly references the painting in a scene where the children travel back to 19th-century Paris to enquire as to the whereabouts of the Eiffel Tower.

Prompt: フォリー・ベルジェールのバーに関して、どのように文化的な言及が議論されていますか？英語で出力して下さい。

Coming to America
Jeff Wall
John Brack
London
Melbourne
Ninette de Valois
Oxford Reading Tree
Picture for Women
Tate Modern
The Private Affairs of Bel Ami


section

フォリー・ベルジェールのバー

List of paintings by Édouard Manet 1882 in art

Prompt: フォリー・ベルジェールのバーに焦点を当てて、その参照を説明してください。英語で出力して下さい。

1882 in art
List of paintings by Édouard Manet
Édouard Manet


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フォリー・ベルジェールのバー

List of paintings by Édouard Manet 1882 in art

Prompt: フォリー・ベルジェールのバーの参照を説明してください。英語で出力して下さい。

1882 in art
List of paintings by Édouard Manet
Édouard Manet


section

フォリー・ベルジェールのバー

List of paintings by Édouard Manet 1882 in art

Prompt: フォリー・ベルジェールのバー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。

1882 in art
List of paintings by Édouard Manet
Édouard Manet


section

フォリー・ベルジェールのバー

List of paintings by Édouard Manet 1882 in art

Prompt: フォリー・ベルジェールのバーに関して、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。

1882 in art
List of paintings by Édouard Manet
Édouard Manet


section

フォリー・ベルジェールのバー

ReferencesSources Gary Tinterow, et al. Manet/Velázquez: The French Taste for Spanish Painting, Metropolitan Museum of Art, 2003.

Prompt: フォリー・ベルジェールのバーに焦点を当てて、その参考文献を説明してください。英語で出力して下さい。


section

フォリー・ベルジェールのバー

ReferencesSources Gary Tinterow, et al. Manet/Velázquez: The French Taste for Spanish Painting, Metropolitan Museum of Art, 2003.

Prompt: フォリー・ベルジェールのバーの参考文献を説明してください。英語で出力して下さい。


section

フォリー・ベルジェールのバー

ReferencesSources Gary Tinterow, et al. Manet/Velázquez: The French Taste for Spanish Painting, Metropolitan Museum of Art, 2003.

Prompt: フォリー・ベルジェールのバーはどのように参考文献を説明していますか？英語で出力して下さい。


section

フォリー・ベルジェールのバー

ReferencesSources Gary Tinterow, et al. Manet/Velázquez: The French Taste for Spanish Painting, Metropolitan Museum of Art, 2003.

Prompt: フォリー・ベルジェールのバーに関して、どのように参考文献が議論されていますか？英語で出力して下さい。


section

フォリー・ベルジェールのバー

An essay on this painting from the book Beauty and Terror by Brian A. Oard  The Courtauld Gallery

Prompt: フォリー・ベルジェールのバーに焦点を当てて、その外部リンクを説明してください。英語で出力して下さい。


section

フォリー・ベルジェールのバー

An essay on this painting from the book Beauty and Terror by Brian A. Oard  The Courtauld Gallery

Prompt: フォリー・ベルジェールのバーの外部リンクを説明してください。英語で出力して下さい。


section

フォリー・ベルジェールのバー

An essay on this painting from the book Beauty and Terror by Brian A. Oard  The Courtauld Gallery

Prompt: フォリー・ベルジェールのバーはどのように外部リンクを説明していますか？英語で出力して下さい。


section

フォリー・ベルジェールのバー

An essay on this painting from the book Beauty and Terror by Brian A. Oard  The Courtauld Gallery

Prompt: フォリー・ベルジェールのバーに関して、どのように外部リンクが議論されていますか？英語で出力して下さい。


section

ポルティナーリ祭壇画

The Portinari Altarpiece or Portinari Triptych  is an oil-on-wood triptych painting by the Flemish painter Hugo van der Goes, commissioned by Tommaso Portinari, representing the Adoration of the Shepherds. It measures 253 x 304 cm, and is now in the Galleria degli Uffizi in Florence, Italy. This altarpiece is filled with figures and religious symbols. Of all the late-fifteenth-century Flemish artworks, this painting is said to be the most studied.

Prompt: ポルティナーリ祭壇画に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Adoration of the Shepherds
Florence
Uffizi
Hugo van der Goes
Italy
Shepherd
Tommaso Portinari
Triptych


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ポルティナーリ祭壇画

The Portinari Altarpiece or Portinari Triptych  is an oil-on-wood triptych painting by the Flemish painter Hugo van der Goes, commissioned by Tommaso Portinari, representing the Adoration of the Shepherds. It measures 253 x 304 cm, and is now in the Galleria degli Uffizi in Florence, Italy. This altarpiece is filled with figures and religious symbols. Of all the late-fifteenth-century Flemish artworks, this painting is said to be the most studied.

Prompt: ポルティナーリ祭壇画の抽象を説明してください。英語で出力して下さい。

Adoration of the Shepherds
Florence
Uffizi
Hugo van der Goes
Italy
Shepherd
Tommaso Portinari
Triptych


section

ポルティナーリ祭壇画

The Portinari Altarpiece or Portinari Triptych  is an oil-on-wood triptych painting by the Flemish painter Hugo van der Goes, commissioned by Tommaso Portinari, representing the Adoration of the Shepherds. It measures 253 x 304 cm, and is now in the Galleria degli Uffizi in Florence, Italy. This altarpiece is filled with figures and religious symbols. Of all the late-fifteenth-century Flemish artworks, this painting is said to be the most studied.

Prompt: ポルティナーリ祭壇画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。

Adoration of the Shepherds
Florence
Uffizi
Hugo van der Goes
Italy
Shepherd
Tommaso Portinari
Triptych


section

ポルティナーリ祭壇画

The Portinari Altarpiece or Portinari Triptych  is an oil-on-wood triptych painting by the Flemish painter Hugo van der Goes, commissioned by Tommaso Portinari, representing the Adoration of the Shepherds. It measures 253 x 304 cm, and is now in the Galleria degli Uffizi in Florence, Italy. This altarpiece is filled with figures and religious symbols. Of all the late-fifteenth-century Flemish artworks, this painting is said to be the most studied.

Prompt: ポルティナーリ祭壇画に関して、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。

Adoration of the Shepherds
Florence
Uffizi
Hugo van der Goes
Italy
Shepherd
Tommaso Portinari
Triptych


section

ポルティナーリ祭壇画

The work was commissioned for the church inside of one of the largest hospitals in Florence, hospital of Santa Maria Nuova by the Italian banker Tommaso Portinari, a descendant of the hospital's founder.  Portinari lived for more than forty years in Bruges as a representative for the Medici family's bank. Portinari himself is depicted on the left panel with his two sons Antonio and Pigello; his wife Maria di Francesco Baroncelli is shown on the right panel with their daughter Margarita. All, except Pigello, are accompanied by their patron saints: Saint Thomas , Saint Anthony , Mary Magdalen  and Saint Margaret . When the work arrived in Florence in 1483, it was installed in the Portinari family chapel where it was deeply admired by the Italian artists who saw it, many of whom sought to emulate it. A good example is the Adoration of the Shepherds  which Domenico Ghirlandaio painted for the Sassetti Chapel in the church of Santa Trinita in Florence. However, the naturalistic depiction of the shepherds is already present in Andrea Mantegna's Adoration of the Shepherds , which dates from around 1450.

Prompt: ポルティナーリ祭壇画に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Adoration of the Shepherds
Andrea Mantegna
Bruges
Domenico Ghirlandaio
Florence
Santa Trinita
Sassetti Chapel
Shepherd
Tommaso Portinari


section

ポルティナーリ祭壇画

The work was commissioned for the church inside of one of the largest hospitals in Florence, hospital of Santa Maria Nuova by the Italian banker Tommaso Portinari, a descendant of the hospital's founder.  Portinari lived for more than forty years in Bruges as a representative for the Medici family's bank. Portinari himself is depicted on the left panel with his two sons Antonio and Pigello; his wife Maria di Francesco Baroncelli is shown on the right panel with their daughter Margarita. All, except Pigello, are accompanied by their patron saints: Saint Thomas , Saint Anthony , Mary Magdalen  and Saint Margaret . When the work arrived in Florence in 1483, it was installed in the Portinari family chapel where it was deeply admired by the Italian artists who saw it, many of whom sought to emulate it. A good example is the Adoration of the Shepherds  which Domenico Ghirlandaio painted for the Sassetti Chapel in the church of Santa Trinita in Florence. However, the naturalistic depiction of the shepherds is already present in Andrea Mantegna's Adoration of the Shepherds , which dates from around 1450.

Prompt: ポルティナーリ祭壇画の歴史を説明してください。英語で出力して下さい。

Adoration of the Shepherds
Andrea Mantegna
Bruges
Domenico Ghirlandaio
Florence
Santa Trinita
Sassetti Chapel
Shepherd
Tommaso Portinari


section

ポルティナーリ祭壇画

The work was commissioned for the church inside of one of the largest hospitals in Florence, hospital of Santa Maria Nuova by the Italian banker Tommaso Portinari, a descendant of the hospital's founder.  Portinari lived for more than forty years in Bruges as a representative for the Medici family's bank. Portinari himself is depicted on the left panel with his two sons Antonio and Pigello; his wife Maria di Francesco Baroncelli is shown on the right panel with their daughter Margarita. All, except Pigello, are accompanied by their patron saints: Saint Thomas , Saint Anthony , Mary Magdalen  and Saint Margaret . When the work arrived in Florence in 1483, it was installed in the Portinari family chapel where it was deeply admired by the Italian artists who saw it, many of whom sought to emulate it. A good example is the Adoration of the Shepherds  which Domenico Ghirlandaio painted for the Sassetti Chapel in the church of Santa Trinita in Florence. However, the naturalistic depiction of the shepherds is already present in Andrea Mantegna's Adoration of the Shepherds , which dates from around 1450.

Prompt: ポルティナーリ祭壇画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。

Adoration of the Shepherds
Andrea Mantegna
Bruges
Domenico Ghirlandaio
Florence
Santa Trinita
Sassetti Chapel
Shepherd
Tommaso Portinari


section

ポルティナーリ祭壇画

The work was commissioned for the church inside of one of the largest hospitals in Florence, hospital of Santa Maria Nuova by the Italian banker Tommaso Portinari, a descendant of the hospital's founder.  Portinari lived for more than forty years in Bruges as a representative for the Medici family's bank. Portinari himself is depicted on the left panel with his two sons Antonio and Pigello; his wife Maria di Francesco Baroncelli is shown on the right panel with their daughter Margarita. All, except Pigello, are accompanied by their patron saints: Saint Thomas , Saint Anthony , Mary Magdalen  and Saint Margaret . When the work arrived in Florence in 1483, it was installed in the Portinari family chapel where it was deeply admired by the Italian artists who saw it, many of whom sought to emulate it. A good example is the Adoration of the Shepherds  which Domenico Ghirlandaio painted for the Sassetti Chapel in the church of Santa Trinita in Florence. However, the naturalistic depiction of the shepherds is already present in Andrea Mantegna's Adoration of the Shepherds , which dates from around 1450.

Prompt: ポルティナーリ祭壇画に関して、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。

Adoration of the Shepherds
Andrea Mantegna
Bruges
Domenico Ghirlandaio
Florence
Santa Trinita
Sassetti Chapel
Shepherd
Tommaso Portinari


section

ポルティナーリ祭壇画

The hospital of S. Maria Nuova in which the altarpiece was originally held, was built in 1285 by Folco Portinari. The hospital was founded with only twelve beds and by the fifteenth century it grew to house around two hundred of them. Because of the hospital's prestige and growth, the hospital became well known throughout Florence as well as many other cities in Europe. The hospital was built for charitable purposes, but later became part of the Portinari legacy that created honor for the family and its generations to come after Folco.The timing of the commission for the Portinari altarpiece was during the peak of Tommaso Portinari's career while in Bruges around the 1470s. The enormous size and choice of artist of this altarpiece is a statement of the patron's wealth and power.

Prompt: ポルティナーリ祭壇画に焦点を当てて、そのパトロンを説明してください。英語で出力して下さい。

Bruges
Florence
Folco Portinari
Tommaso Portinari


section

ポルティナーリ祭壇画

The hospital of S. Maria Nuova in which the altarpiece was originally held, was built in 1285 by Folco Portinari. The hospital was founded with only twelve beds and by the fifteenth century it grew to house around two hundred of them. Because of the hospital's prestige and growth, the hospital became well known throughout Florence as well as many other cities in Europe. The hospital was built for charitable purposes, but later became part of the Portinari legacy that created honor for the family and its generations to come after Folco.The timing of the commission for the Portinari altarpiece was during the peak of Tommaso Portinari's career while in Bruges around the 1470s. The enormous size and choice of artist of this altarpiece is a statement of the patron's wealth and power.

Prompt: ポルティナーリ祭壇画のパトロンを説明してください。英語で出力して下さい。

Bruges
Florence
Folco Portinari
Tommaso Portinari


section

ポルティナーリ祭壇画

The hospital of S. Maria Nuova in which the altarpiece was originally held, was built in 1285 by Folco Portinari. The hospital was founded with only twelve beds and by the fifteenth century it grew to house around two hundred of them. Because of the hospital's prestige and growth, the hospital became well known throughout Florence as well as many other cities in Europe. The hospital was built for charitable purposes, but later became part of the Portinari legacy that created honor for the family and its generations to come after Folco.The timing of the commission for the Portinari altarpiece was during the peak of Tommaso Portinari's career while in Bruges around the 1470s. The enormous size and choice of artist of this altarpiece is a statement of the patron's wealth and power.

Prompt: ポルティナーリ祭壇画はどのようにパトロンを説明していますか？英語で出力して下さい。

Bruges
Florence
Folco Portinari
Tommaso Portinari


section

ポルティナーリ祭壇画

The hospital of S. Maria Nuova in which the altarpiece was originally held, was built in 1285 by Folco Portinari. The hospital was founded with only twelve beds and by the fifteenth century it grew to house around two hundred of them. Because of the hospital's prestige and growth, the hospital became well known throughout Florence as well as many other cities in Europe. The hospital was built for charitable purposes, but later became part of the Portinari legacy that created honor for the family and its generations to come after Folco.The timing of the commission for the Portinari altarpiece was during the peak of Tommaso Portinari's career while in Bruges around the 1470s. The enormous size and choice of artist of this altarpiece is a statement of the patron's wealth and power.

Prompt: ポルティナーリ祭壇画に関して、どのようにパトロンが議論されていますか？英語で出力して下さい。

Bruges
Florence
Folco Portinari
Tommaso Portinari


section

ポルティナーリ祭壇画

In the central panel, three shepherds fall to their knees before the child Jesus. Van der Goes painted these rustic characters very realistically. Kneeling angels surround the Virgin and the Child, who is not in a crib but lies on the ground surrounded by an aureole of golden rays. This unusual representation of the adoration of Jesus is probably based on one of the visions of Saint Bridget of Sweden.In the background, van der Goes painted scenes related to the main subject: on the left panel, Joseph and Mary on the road to Bethlehem; on the central panel , the shepherds visited by the angel; on the right panel, the Three Magi on the road to Bethlehem. Hugo van der Goes used continuous narrative to show the same characters repeated in one painting. In the central panel, he sets the characters up in the background first. Here, the shepherds are seen with an angel over their heads. This scene is the Annunciation of the Shepherds where the angel comes to tell the shepherds of the news of Christ's birth. In the foreground of the central panel, the shepherds are seen now adoring Christ across from the Virgin Mary.Because most triptych altarpieces are usually kept unopened, the Portinari Altarpiece would have been closed except for special occasions such as holidays and feast days when it would have been opened. The exterior of Hugo van der Goes's triptych has decorative depictions of the Annunciation scene. The artist Hugo van der Goes painted the figures of the Virgin Mary and of the Angel Gabriel in grisaille, meaning to paint it in a style that imitates sculpture. The two figures are placed in shallow niches.It was more economical for a patron to have an artist like Hugo van der Goes who could create a painting and a sculpture with paint itself. This allowed the patron to only have to contract the artist instead of multiple craftsmen. This also helped Van der Goes because the entire commission could be kept for the artist and his assistants. Another concept that was popular during the time of Hugo van der Goes was depicting the scene of The Annunciation on the exterior of the triptych while the scene from the life of Christ would be in the interior of the altarpiece once the panels were opened since The Annunciation gave way for the Incarnation of Christ.

Prompt: ポルティナーリ祭壇画に焦点を当てて、その説明を説明してください。英語で出力して下さい。

Annunciation
Bethlehem
Gabriel
Hugo van der Goes
Jesus
Bridget of Sweden
Shepherd


section

ポルティナーリ祭壇画

In the central panel, three shepherds fall to their knees before the child Jesus. Van der Goes painted these rustic characters very realistically. Kneeling angels surround the Virgin and the Child, who is not in a crib but lies on the ground surrounded by an aureole of golden rays. This unusual representation of the adoration of Jesus is probably based on one of the visions of Saint Bridget of Sweden.In the background, van der Goes painted scenes related to the main subject: on the left panel, Joseph and Mary on the road to Bethlehem; on the central panel , the shepherds visited by the angel; on the right panel, the Three Magi on the road to Bethlehem. Hugo van der Goes used continuous narrative to show the same characters repeated in one painting. In the central panel, he sets the characters up in the background first. Here, the shepherds are seen with an angel over their heads. This scene is the Annunciation of the Shepherds where the angel comes to tell the shepherds of the news of Christ's birth. In the foreground of the central panel, the shepherds are seen now adoring Christ across from the Virgin Mary.Because most triptych altarpieces are usually kept unopened, the Portinari Altarpiece would have been closed except for special occasions such as holidays and feast days when it would have been opened. The exterior of Hugo van der Goes's triptych has decorative depictions of the Annunciation scene. The artist Hugo van der Goes painted the figures of the Virgin Mary and of the Angel Gabriel in grisaille, meaning to paint it in a style that imitates sculpture. The two figures are placed in shallow niches.It was more economical for a patron to have an artist like Hugo van der Goes who could create a painting and a sculpture with paint itself. This allowed the patron to only have to contract the artist instead of multiple craftsmen. This also helped Van der Goes because the entire commission could be kept for the artist and his assistants. Another concept that was popular during the time of Hugo van der Goes was depicting the scene of The Annunciation on the exterior of the triptych while the scene from the life of Christ would be in the interior of the altarpiece once the panels were opened since The Annunciation gave way for the Incarnation of Christ.

Prompt: ポルティナーリ祭壇画の説明を説明してください。英語で出力して下さい。

Annunciation
Bethlehem
Gabriel
Hugo van der Goes
Jesus
Bridget of Sweden
Shepherd


section

ポルティナーリ祭壇画

In the central panel, three shepherds fall to their knees before the child Jesus. Van der Goes painted these rustic characters very realistically. Kneeling angels surround the Virgin and the Child, who is not in a crib but lies on the ground surrounded by an aureole of golden rays. This unusual representation of the adoration of Jesus is probably based on one of the visions of Saint Bridget of Sweden.In the background, van der Goes painted scenes related to the main subject: on the left panel, Joseph and Mary on the road to Bethlehem; on the central panel , the shepherds visited by the angel; on the right panel, the Three Magi on the road to Bethlehem. Hugo van der Goes used continuous narrative to show the same characters repeated in one painting. In the central panel, he sets the characters up in the background first. Here, the shepherds are seen with an angel over their heads. This scene is the Annunciation of the Shepherds where the angel comes to tell the shepherds of the news of Christ's birth. In the foreground of the central panel, the shepherds are seen now adoring Christ across from the Virgin Mary.Because most triptych altarpieces are usually kept unopened, the Portinari Altarpiece would have been closed except for special occasions such as holidays and feast days when it would have been opened. The exterior of Hugo van der Goes's triptych has decorative depictions of the Annunciation scene. The artist Hugo van der Goes painted the figures of the Virgin Mary and of the Angel Gabriel in grisaille, meaning to paint it in a style that imitates sculpture. The two figures are placed in shallow niches.It was more economical for a patron to have an artist like Hugo van der Goes who could create a painting and a sculpture with paint itself. This allowed the patron to only have to contract the artist instead of multiple craftsmen. This also helped Van der Goes because the entire commission could be kept for the artist and his assistants. Another concept that was popular during the time of Hugo van der Goes was depicting the scene of The Annunciation on the exterior of the triptych while the scene from the life of Christ would be in the interior of the altarpiece once the panels were opened since The Annunciation gave way for the Incarnation of Christ.

Prompt: ポルティナーリ祭壇画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。

Annunciation
Bethlehem
Gabriel
Hugo van der Goes
Jesus
Bridget of Sweden
Shepherd


section

ポルティナーリ祭壇画

In the central panel, three shepherds fall to their knees before the child Jesus. Van der Goes painted these rustic characters very realistically. Kneeling angels surround the Virgin and the Child, who is not in a crib but lies on the ground surrounded by an aureole of golden rays. This unusual representation of the adoration of Jesus is probably based on one of the visions of Saint Bridget of Sweden.In the background, van der Goes painted scenes related to the main subject: on the left panel, Joseph and Mary on the road to Bethlehem; on the central panel , the shepherds visited by the angel; on the right panel, the Three Magi on the road to Bethlehem. Hugo van der Goes used continuous narrative to show the same characters repeated in one painting. In the central panel, he sets the characters up in the background first. Here, the shepherds are seen with an angel over their heads. This scene is the Annunciation of the Shepherds where the angel comes to tell the shepherds of the news of Christ's birth. In the foreground of the central panel, the shepherds are seen now adoring Christ across from the Virgin Mary.Because most triptych altarpieces are usually kept unopened, the Portinari Altarpiece would have been closed except for special occasions such as holidays and feast days when it would have been opened. The exterior of Hugo van der Goes's triptych has decorative depictions of the Annunciation scene. The artist Hugo van der Goes painted the figures of the Virgin Mary and of the Angel Gabriel in grisaille, meaning to paint it in a style that imitates sculpture. The two figures are placed in shallow niches.It was more economical for a patron to have an artist like Hugo van der Goes who could create a painting and a sculpture with paint itself. This allowed the patron to only have to contract the artist instead of multiple craftsmen. This also helped Van der Goes because the entire commission could be kept for the artist and his assistants. Another concept that was popular during the time of Hugo van der Goes was depicting the scene of The Annunciation on the exterior of the triptych while the scene from the life of Christ would be in the interior of the altarpiece once the panels were opened since The Annunciation gave way for the Incarnation of Christ.

Prompt: ポルティナーリ祭壇画に関して、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。

Annunciation
Bethlehem
Gabriel
Hugo van der Goes
Jesus
Bridget of Sweden
Shepherd


section

ポルティナーリ祭壇画

rightHugo van der Goes's Altarpiece is considered to have some of the most complicated and hidden symbolism in any Nativity scene from the fifteenth century. The scenes of the Nativity and the Adoration of the Shepherds are seen in the central panels of the triptych, whereas in the background to the right side, is the scene of the Annunciation of the Shepherds.There are certain symbols in the painting that represent the devotion of the Eucharist. Those liturgical vestments are the same ones worn during the first Solemn High Mass by the assistant ministers. In the upper left part of the central panel as well as the lower right corner, are two angels wearing the liturgical cope that is worn traditionally by the archpriest in a first Solemn High Mass. There are two angels on the righthand side of the angel who is on his knees. Those two angels wear a Dalmatic cope, which is a short sleeved garment with slits going up the side. The Dalmatic is usually worn in Solemn High Masses by a Deacon or Subdeacon. In a Solemn High Mass, a linen alb is worn under the vestments of every assistant minister. The same linen alb is worn by every angel in the painting. The angel who is kneeling at the bottom left of the frame, wears a linen alb and a stole. The angel behind him, wears only the alb. The liturgical vestments of the angels together with the sheaf of wheat—also found in the central panel, create a symbol for the Eucharist. The vestments of the angels are created so that whoever is gazing at this altarpiece, is reminded of the holy sacrament that took place at the altar, where the triptych altarpiece would have been placed. There is one angel above the ox and donkey, that wears the darkest color robing looking almost like a shadow. This angel represents the presence and threat of Satan. The dark angel is in the air almost, as if he is flying away because of the arrival of Christ, symbolizing how Christ will vanquish all sin. The angel that represents Satan is also a representation of how Satan is always lurking with his temptations and sins, making Christ's future sacrifice necessary. However, the prayerfully joined hands of this angel and also his respectful bowing put that interpretation into question. The figure is perhaps represented intentionally with ambiguity.There are two structures that symbolize the Old Testament coming to an end once the arrival of Christ comes, the old shed on the right and the Romanesque architecture to the left are starting to deteriorate. The column near the shed is thought to have been a support for Mary while she as giving birth. The ox and ass also have religious significances. The ox represents the Church the one who accepted Christ; its head is raised in recognition of Christ while the ass tilts his head downward representing the way the people who worshiped In the Jewish Synagogue lived in blindness against Christ.Dressed in a red robe is Joseph, the husband of Mary. In front of Joseph and behind the white cloaked angels is a clog or sandal. The sandal symbolizes the removal of a shoe before entering a holy place or stepping on sacred ground. Therefore, the ground in which Joseph is stepping on, the ground on which the Christ child lays, is holy.The flowers on the foreground were used to represent certain symbols. These flowers include scarlet lilies and white and purple irises representing the Passion, violets for humility, three red carnations that symbolize the three nails on the cross and columbines that represent the Holy Spirit. The flowers are held in an albarello lusterware ceramic. A vessel like this was known to be used as an apothecary jar and was used to store and carry herbs, spices, and other organic compounds used for therapeutic reasons. All the flowers mentioned earlier such as the iris and lily, columbine and carnation and as well as the violet, have medicinal properties.

Prompt: ポルティナーリ祭壇画に焦点を当てて、その象徴性を説明してください。英語で出力して下さい。

Adoration of the Shepherds
Annunciation
Eucharist
Hugo van der Goes
Old Testament
Romanesque architecture
Satan
Shepherd
Synagogue


section

ポルティナーリ祭壇画

rightHugo van der Goes's Altarpiece is considered to have some of the most complicated and hidden symbolism in any Nativity scene from the fifteenth century. The scenes of the Nativity and the Adoration of the Shepherds are seen in the central panels of the triptych, whereas in the background to the right side, is the scene of the Annunciation of the Shepherds.There are certain symbols in the painting that represent the devotion of the Eucharist. Those liturgical vestments are the same ones worn during the first Solemn High Mass by the assistant ministers. In the upper left part of the central panel as well as the lower right corner, are two angels wearing the liturgical cope that is worn traditionally by the archpriest in a first Solemn High Mass. There are two angels on the righthand side of the angel who is on his knees. Those two angels wear a Dalmatic cope, which is a short sleeved garment with slits going up the side. The Dalmatic is usually worn in Solemn High Masses by a Deacon or Subdeacon. In a Solemn High Mass, a linen alb is worn under the vestments of every assistant minister. The same linen alb is worn by every angel in the painting. The angel who is kneeling at the bottom left of the frame, wears a linen alb and a stole. The angel behind him, wears only the alb. The liturgical vestments of the angels together with the sheaf of wheat—also found in the central panel, create a symbol for the Eucharist. The vestments of the angels are created so that whoever is gazing at this altarpiece, is reminded of the holy sacrament that took place at the altar, where the triptych altarpiece would have been placed. There is one angel above the ox and donkey, that wears the darkest color robing looking almost like a shadow. This angel represents the presence and threat of Satan. The dark angel is in the air almost, as if he is flying away because of the arrival of Christ, symbolizing how Christ will vanquish all sin. The angel that represents Satan is also a representation of how Satan is always lurking with his temptations and sins, making Christ's future sacrifice necessary. However, the prayerfully joined hands of this angel and also his respectful bowing put that interpretation into question. The figure is perhaps represented intentionally with ambiguity.There are two structures that symbolize the Old Testament coming to an end once the arrival of Christ comes, the old shed on the right and the Romanesque architecture to the left are starting to deteriorate. The column near the shed is thought to have been a support for Mary while she as giving birth. The ox and ass also have religious significances. The ox represents the Church the one who accepted Christ; its head is raised in recognition of Christ while the ass tilts his head downward representing the way the people who worshiped In the Jewish Synagogue lived in blindness against Christ.Dressed in a red robe is Joseph, the husband of Mary. In front of Joseph and behind the white cloaked angels is a clog or sandal. The sandal symbolizes the removal of a shoe before entering a holy place or stepping on sacred ground. Therefore, the ground in which Joseph is stepping on, the ground on which the Christ child lays, is holy.The flowers on the foreground were used to represent certain symbols. These flowers include scarlet lilies and white and purple irises representing the Passion, violets for humility, three red carnations that symbolize the three nails on the cross and columbines that represent the Holy Spirit. The flowers are held in an albarello lusterware ceramic. A vessel like this was known to be used as an apothecary jar and was used to store and carry herbs, spices, and other organic compounds used for therapeutic reasons. All the flowers mentioned earlier such as the iris and lily, columbine and carnation and as well as the violet, have medicinal properties.

Prompt: ポルティナーリ祭壇画の象徴性を説明してください。英語で出力して下さい。

Adoration of the Shepherds
Annunciation
Eucharist
Hugo van der Goes
Old Testament
Romanesque architecture
Satan
Shepherd
Synagogue


section

ポルティナーリ祭壇画

rightHugo van der Goes's Altarpiece is considered to have some of the most complicated and hidden symbolism in any Nativity scene from the fifteenth century. The scenes of the Nativity and the Adoration of the Shepherds are seen in the central panels of the triptych, whereas in the background to the right side, is the scene of the Annunciation of the Shepherds.There are certain symbols in the painting that represent the devotion of the Eucharist. Those liturgical vestments are the same ones worn during the first Solemn High Mass by the assistant ministers. In the upper left part of the central panel as well as the lower right corner, are two angels wearing the liturgical cope that is worn traditionally by the archpriest in a first Solemn High Mass. There are two angels on the righthand side of the angel who is on his knees. Those two angels wear a Dalmatic cope, which is a short sleeved garment with slits going up the side. The Dalmatic is usually worn in Solemn High Masses by a Deacon or Subdeacon. In a Solemn High Mass, a linen alb is worn under the vestments of every assistant minister. The same linen alb is worn by every angel in the painting. The angel who is kneeling at the bottom left of the frame, wears a linen alb and a stole. The angel behind him, wears only the alb. The liturgical vestments of the angels together with the sheaf of wheat—also found in the central panel, create a symbol for the Eucharist. The vestments of the angels are created so that whoever is gazing at this altarpiece, is reminded of the holy sacrament that took place at the altar, where the triptych altarpiece would have been placed. There is one angel above the ox and donkey, that wears the darkest color robing looking almost like a shadow. This angel represents the presence and threat of Satan. The dark angel is in the air almost, as if he is flying away because of the arrival of Christ, symbolizing how Christ will vanquish all sin. The angel that represents Satan is also a representation of how Satan is always lurking with his temptations and sins, making Christ's future sacrifice necessary. However, the prayerfully joined hands of this angel and also his respectful bowing put that interpretation into question. The figure is perhaps represented intentionally with ambiguity.There are two structures that symbolize the Old Testament coming to an end once the arrival of Christ comes, the old shed on the right and the Romanesque architecture to the left are starting to deteriorate. The column near the shed is thought to have been a support for Mary while she as giving birth. The ox and ass also have religious significances. The ox represents the Church the one who accepted Christ; its head is raised in recognition of Christ while the ass tilts his head downward representing the way the people who worshiped In the Jewish Synagogue lived in blindness against Christ.Dressed in a red robe is Joseph, the husband of Mary. In front of Joseph and behind the white cloaked angels is a clog or sandal. The sandal symbolizes the removal of a shoe before entering a holy place or stepping on sacred ground. Therefore, the ground in which Joseph is stepping on, the ground on which the Christ child lays, is holy.The flowers on the foreground were used to represent certain symbols. These flowers include scarlet lilies and white and purple irises representing the Passion, violets for humility, three red carnations that symbolize the three nails on the cross and columbines that represent the Holy Spirit. The flowers are held in an albarello lusterware ceramic. A vessel like this was known to be used as an apothecary jar and was used to store and carry herbs, spices, and other organic compounds used for therapeutic reasons. All the flowers mentioned earlier such as the iris and lily, columbine and carnation and as well as the violet, have medicinal properties.

Prompt: ポルティナーリ祭壇画はどのように象徴性を説明していますか？英語で出力して下さい。

Adoration of the Shepherds
Annunciation
Eucharist
Hugo van der Goes
Old Testament
Romanesque architecture
Satan
Shepherd
Synagogue


section

ポルティナーリ祭壇画

rightHugo van der Goes's Altarpiece is considered to have some of the most complicated and hidden symbolism in any Nativity scene from the fifteenth century. The scenes of the Nativity and the Adoration of the Shepherds are seen in the central panels of the triptych, whereas in the background to the right side, is the scene of the Annunciation of the Shepherds.There are certain symbols in the painting that represent the devotion of the Eucharist. Those liturgical vestments are the same ones worn during the first Solemn High Mass by the assistant ministers. In the upper left part of the central panel as well as the lower right corner, are two angels wearing the liturgical cope that is worn traditionally by the archpriest in a first Solemn High Mass. There are two angels on the righthand side of the angel who is on his knees. Those two angels wear a Dalmatic cope, which is a short sleeved garment with slits going up the side. The Dalmatic is usually worn in Solemn High Masses by a Deacon or Subdeacon. In a Solemn High Mass, a linen alb is worn under the vestments of every assistant minister. The same linen alb is worn by every angel in the painting. The angel who is kneeling at the bottom left of the frame, wears a linen alb and a stole. The angel behind him, wears only the alb. The liturgical vestments of the angels together with the sheaf of wheat—also found in the central panel, create a symbol for the Eucharist. The vestments of the angels are created so that whoever is gazing at this altarpiece, is reminded of the holy sacrament that took place at the altar, where the triptych altarpiece would have been placed. There is one angel above the ox and donkey, that wears the darkest color robing looking almost like a shadow. This angel represents the presence and threat of Satan. The dark angel is in the air almost, as if he is flying away because of the arrival of Christ, symbolizing how Christ will vanquish all sin. The angel that represents Satan is also a representation of how Satan is always lurking with his temptations and sins, making Christ's future sacrifice necessary. However, the prayerfully joined hands of this angel and also his respectful bowing put that interpretation into question. The figure is perhaps represented intentionally with ambiguity.There are two structures that symbolize the Old Testament coming to an end once the arrival of Christ comes, the old shed on the right and the Romanesque architecture to the left are starting to deteriorate. The column near the shed is thought to have been a support for Mary while she as giving birth. The ox and ass also have religious significances. The ox represents the Church the one who accepted Christ; its head is raised in recognition of Christ while the ass tilts his head downward representing the way the people who worshiped In the Jewish Synagogue lived in blindness against Christ.Dressed in a red robe is Joseph, the husband of Mary. In front of Joseph and behind the white cloaked angels is a clog or sandal. The sandal symbolizes the removal of a shoe before entering a holy place or stepping on sacred ground. Therefore, the ground in which Joseph is stepping on, the ground on which the Christ child lays, is holy.The flowers on the foreground were used to represent certain symbols. These flowers include scarlet lilies and white and purple irises representing the Passion, violets for humility, three red carnations that symbolize the three nails on the cross and columbines that represent the Holy Spirit. The flowers are held in an albarello lusterware ceramic. A vessel like this was known to be used as an apothecary jar and was used to store and carry herbs, spices, and other organic compounds used for therapeutic reasons. All the flowers mentioned earlier such as the iris and lily, columbine and carnation and as well as the violet, have medicinal properties.

Prompt: ポルティナーリ祭壇画に関して、どのように象徴性が議論されていますか？英語で出力して下さい。

Adoration of the Shepherds
Annunciation
Eucharist
Hugo van der Goes
Old Testament
Romanesque architecture
Satan
Shepherd
Synagogue


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ポルティナーリ祭壇画

Prompt: ポルティナーリ祭壇画に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Hugo van der Goes
List of works by Hugo van der Goes


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ポルティナーリ祭壇画

Prompt: ポルティナーリ祭壇画の参照を説明してください。英語で出力して下さい。

Hugo van der Goes
List of works by Hugo van der Goes


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ポルティナーリ祭壇画

Prompt: ポルティナーリ祭壇画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。

Hugo van der Goes
List of works by Hugo van der Goes


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ポルティナーリ祭壇画

Prompt: ポルティナーリ祭壇画に関して、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。

Hugo van der Goes
List of works by Hugo van der Goes


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ポルティナーリ祭壇画

Margaret L. Koster. "New Documentation for the Portinari Altar-Piece". The Burlington Magazine, vol. 145 no. 1200, March 2003, pp. 164–79.  M. B. McNamee. "Further Symbolism in the Portinari Altarpiece". The Art Bulletin, vol. 45 no. 2, June 1963, pp. 142–43.

Prompt: ポルティナーリ祭壇画に焦点を当てて、そのさらなる読書を説明してください。英語で出力して下さい。


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ポルティナーリ祭壇画

Margaret L. Koster. "New Documentation for the Portinari Altar-Piece". The Burlington Magazine, vol. 145 no. 1200, March 2003, pp. 164–79.  M. B. McNamee. "Further Symbolism in the Portinari Altarpiece". The Art Bulletin, vol. 45 no. 2, June 1963, pp. 142–43.

Prompt: ポルティナーリ祭壇画のさらなる読書を説明してください。英語で出力して下さい。


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ポルティナーリ祭壇画

Margaret L. Koster. "New Documentation for the Portinari Altar-Piece". The Burlington Magazine, vol. 145 no. 1200, March 2003, pp. 164–79.  M. B. McNamee. "Further Symbolism in the Portinari Altarpiece". The Art Bulletin, vol. 45 no. 2, June 1963, pp. 142–43.

Prompt: ポルティナーリ祭壇画はどのようにさらなる読書を説明していますか？英語で出力して下さい。


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ポルティナーリ祭壇画

Margaret L. Koster. "New Documentation for the Portinari Altar-Piece". The Burlington Magazine, vol. 145 no. 1200, March 2003, pp. 164–79.  M. B. McNamee. "Further Symbolism in the Portinari Altarpiece". The Art Bulletin, vol. 45 no. 2, June 1963, pp. 142–43.

Prompt: ポルティナーリ祭壇画に関して、どのようにさらなる読書が議論されていますか？英語で出力して下さい。


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乾草車の三連祭壇画

The Haywain Triptych is a panel painting by the Early Netherlandish painter Hieronymus Bosch, now in the Museo del Prado, Madrid, Spain. A date of around 1516 has been established by means of dendrochronological research. The central panel, signed "Jheronimus Bosch", measures  and the wings measure . The outside shutters feature a version of Bosch's The Wayfarer.

Prompt: 乾草車の三連祭壇画に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Hieronymus Bosch
Madrid
Museo del Prado
The Wayfarer


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乾草車の三連祭壇画

The Haywain Triptych is a panel painting by the Early Netherlandish painter Hieronymus Bosch, now in the Museo del Prado, Madrid, Spain. A date of around 1516 has been established by means of dendrochronological research. The central panel, signed "Jheronimus Bosch", measures  and the wings measure . The outside shutters feature a version of Bosch's The Wayfarer.

Prompt: 乾草車の三連祭壇画の抽象を説明してください。英語で出力して下さい。

Hieronymus Bosch
Madrid
Museo del Prado
The Wayfarer


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乾草車の三連祭壇画

The Haywain Triptych is a panel painting by the Early Netherlandish painter Hieronymus Bosch, now in the Museo del Prado, Madrid, Spain. A date of around 1516 has been established by means of dendrochronological research. The central panel, signed "Jheronimus Bosch", measures  and the wings measure . The outside shutters feature a version of Bosch's The Wayfarer.

Prompt: 乾草車の三連祭壇画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。

Hieronymus Bosch
Madrid
Museo del Prado
The Wayfarer


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乾草車の三連祭壇画

The Haywain Triptych is a panel painting by the Early Netherlandish painter Hieronymus Bosch, now in the Museo del Prado, Madrid, Spain. A date of around 1516 has been established by means of dendrochronological research. The central panel, signed "Jheronimus Bosch", measures  and the wings measure . The outside shutters feature a version of Bosch's The Wayfarer.

Prompt: 乾草車の三連祭壇画に関して、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。

Hieronymus Bosch
Madrid
Museo del Prado
The Wayfarer


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乾草車の三連祭壇画

The painting was part of a group of six acquired by King Philip II of Spain in 1570, and shipped to El Escorial four years later.  It was later sold to the Marquis of Salamanca, and divided into three paintings. In 1848, the central panel was bought by Isabella II of Spain and brought to Aranjuez, the right one was returned to Escorial and the left went to the Prado. The triptych was finally recomposed in 1914 in the latter museum. A copy exists at the Escorial.240px

Prompt: 乾草車の三連祭壇画に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Aranjuez
El Escorial
Isabella II
Philip II of Spain


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乾草車の三連祭壇画

The painting was part of a group of six acquired by King Philip II of Spain in 1570, and shipped to El Escorial four years later.  It was later sold to the Marquis of Salamanca, and divided into three paintings. In 1848, the central panel was bought by Isabella II of Spain and brought to Aranjuez, the right one was returned to Escorial and the left went to the Prado. The triptych was finally recomposed in 1914 in the latter museum. A copy exists at the Escorial.240px

Prompt: 乾草車の三連祭壇画の歴史を説明してください。英語で出力して下さい。

Aranjuez
El Escorial
Isabella II
Philip II of Spain


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乾草車の三連祭壇画

The painting was part of a group of six acquired by King Philip II of Spain in 1570, and shipped to El Escorial four years later.  It was later sold to the Marquis of Salamanca, and divided into three paintings. In 1848, the central panel was bought by Isabella II of Spain and brought to Aranjuez, the right one was returned to Escorial and the left went to the Prado. The triptych was finally recomposed in 1914 in the latter museum. A copy exists at the Escorial.240px

Prompt: 乾草車の三連祭壇画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。

Aranjuez
El Escorial
Isabella II
Philip II of Spain


section

乾草車の三連祭壇画

The painting was part of a group of six acquired by King Philip II of Spain in 1570, and shipped to El Escorial four years later.  It was later sold to the Marquis of Salamanca, and divided into three paintings. In 1848, the central panel was bought by Isabella II of Spain and brought to Aranjuez, the right one was returned to Escorial and the left went to the Prado. The triptych was finally recomposed in 1914 in the latter museum. A copy exists at the Escorial.240px

Prompt: 乾草車の三連祭壇画に関して、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。

Aranjuez
El Escorial
Isabella II
Philip II of Spain


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乾草車の三連祭壇画

The triptych was thoroughly investigated by the scientists at the Bosch Research and Conservation Project with the results published in book form. Bosch's palette was rather limited with pigments including azurite, lead-tin yellow, vermilion and ochres.

Prompt: 乾草車の三連祭壇画に焦点を当てて、その絵画材料を説明してください。英語で出力して下さい。


section

乾草車の三連祭壇画

The triptych was thoroughly investigated by the scientists at the Bosch Research and Conservation Project with the results published in book form. Bosch's palette was rather limited with pigments including azurite, lead-tin yellow, vermilion and ochres.

Prompt: 乾草車の三連祭壇画の絵画材料を説明してください。英語で出力して下さい。


section

乾草車の三連祭壇画

The triptych was thoroughly investigated by the scientists at the Bosch Research and Conservation Project with the results published in book form. Bosch's palette was rather limited with pigments including azurite, lead-tin yellow, vermilion and ochres.

Prompt: 乾草車の三連祭壇画はどのように絵画材料を説明していますか？英語で出力して下さい。


section

乾草車の三連祭壇画

The triptych was thoroughly investigated by the scientists at the Bosch Research and Conservation Project with the results published in book form. Bosch's palette was rather limited with pigments including azurite, lead-tin yellow, vermilion and ochres.

Prompt: 乾草車の三連祭壇画に関して、どのように絵画材料が議論されていますか？英語で出力して下さい。


section

乾草車の三連祭壇画

Prompt: 乾草車の三連祭壇画に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Hieronymus Bosch
List of paintings by Hieronymus Bosch


section

乾草車の三連祭壇画

Prompt: 乾草車の三連祭壇画の参照を説明してください。英語で出力して下さい。

Hieronymus Bosch
List of paintings by Hieronymus Bosch


section

乾草車の三連祭壇画

Prompt: 乾草車の三連祭壇画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。

Hieronymus Bosch
List of paintings by Hieronymus Bosch


section

乾草車の三連祭壇画

Prompt: 乾草車の三連祭壇画に関して、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。

Hieronymus Bosch
List of paintings by Hieronymus Bosch


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乾草車の三連祭壇画

The exterior of the shutters, like most contemporary Netherlandish triptychs, was also painted, although in this case Bosch used full colors instead of the usual grisaille. When closed, they form a single scene depicting a wayfarer. Around him is a series of miniatures including the robbery of another wayfarer and a hanged man. The man uses a stick to repel a dog.According to the most recent interpretations, this figure may represent the man who follows his road in spite of the temptation of sins  and the evil acts occurring around him.

Prompt: 乾草車の三連祭壇画の文脈で、シャッターと歴史を説明してください。英語で出力して下さい。