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フィエーゾレの祭壇画

The Fiesole Altarpiece is a painting by the Italian early Renaissance master Fra Angelico, executed around 1424–1425. It is housed in the Convent of San Domenico, Fiesole, central Italy. The background was repainted by Lorenzo di Credi in 1501.

Prompt: フィエーゾレの祭壇画に関して、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。

Convent of San Domenico, Fiesole
Fra Angelico
Italy
Lorenzo di Credi


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フィエーゾレの祭壇画

The altarpiece is among the earliest known works by Fra Angelico. It was originally commissioned for the high altar in the convent's church, but was later moved to a side altar where it is currently visible.In 1501 Lorenzo di Credi repainted the background, which was probably gilded, with a more modern landscape featuring a throne with baldachin, trompe-l'oeil reliefs and two landscapes between pillars. The Gothic cusps were also eliminated in that occasion.

Prompt: フィエーゾレの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。


section

フィエーゾレの祭壇画

The altarpiece is among the earliest known works by Fra Angelico. It was originally commissioned for the high altar in the convent's church, but was later moved to a side altar where it is currently visible.In 1501 Lorenzo di Credi repainted the background, which was probably gilded, with a more modern landscape featuring a throne with baldachin, trompe-l'oeil reliefs and two landscapes between pillars. The Gothic cusps were also eliminated in that occasion.

Prompt: フィエーゾレの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。


section

フィエーゾレの祭壇画

The altarpiece is among the earliest known works by Fra Angelico. It was originally commissioned for the high altar in the convent's church, but was later moved to a side altar where it is currently visible.In 1501 Lorenzo di Credi repainted the background, which was probably gilded, with a more modern landscape featuring a throne with baldachin, trompe-l'oeil reliefs and two landscapes between pillars. The Gothic cusps were also eliminated in that occasion.

Prompt: フィエーゾレの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。


section

フィエーゾレの祭壇画

The altarpiece is among the earliest known works by Fra Angelico. It was originally commissioned for the high altar in the convent's church, but was later moved to a side altar where it is currently visible.In 1501 Lorenzo di Credi repainted the background, which was probably gilded, with a more modern landscape featuring a throne with baldachin, trompe-l'oeil reliefs and two landscapes between pillars. The Gothic cusps were also eliminated in that occasion.

Prompt: フィエーゾレの祭壇画に関して、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。


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フィエーゾレの祭壇画

The work is a Maestà, a Madonna enthroned, a theme particularly fashionable in Florentine art at the time. The central group with the Madonna and Child is surrounded by eight adoring angels depicted in smaller size. The saints Thomas Aquinas, Barnabas, Dominic and Peter of Verona are at the sides: these were three saints of the Dominican Order  and the namesake of Barnaba degli Agli, a Florentine man who had donated 6,000 florins for the convent's restoration and enlargement.The naked Child is shown while grasping two flowers: a white rose, symbol of purity, and a red one, a forecast of his future passion connected with the Eucharist: the panel was in fact painted for the church's high altar, where the celebration of this sacrament occurs.The composition resembles that of Masaccio's San Giovenale Triptych . The scheme is also similar to the cartoon of the Assumption by Lorenzo Ghiberti for the windows in the façade of Florence Cathedral . It is also one of the most ancient polyptychs in which the figures are in the same painted surface, without being divided into different compartments.Elements such as the less evolved perspective and the tile pavements  led to the datation of some three years before his San Pietro Martire Triptych, which is documented from 1428.The work had a predella, now at the National Gallery, London and portraying Adoration of Saints, Prophets and Members of the Dominican Order. The latter also houses a tondo with St. Romulus, perhaps located above the polyptych. The side pillars were decorated by ten small panels with saints and blessed, four of which are known today: two are at the Musée Condé of Chantilly and two in private collections.</div>

Prompt: フィエーゾレの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。

Barnabas
Dominican Order
Eucharist
Florence Cathedral
Lorenzo Ghiberti
Maestà
Masaccio
Musée Condé
National Gallery
San Giovenale Triptych
San Pietro Martire Triptych
Thomas Aquinas


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フィエーゾレの祭壇画

The work is a Maestà, a Madonna enthroned, a theme particularly fashionable in Florentine art at the time. The central group with the Madonna and Child is surrounded by eight adoring angels depicted in smaller size. The saints Thomas Aquinas, Barnabas, Dominic and Peter of Verona are at the sides: these were three saints of the Dominican Order  and the namesake of Barnaba degli Agli, a Florentine man who had donated 6,000 florins for the convent's restoration and enlargement.The naked Child is shown while grasping two flowers: a white rose, symbol of purity, and a red one, a forecast of his future passion connected with the Eucharist: the panel was in fact painted for the church's high altar, where the celebration of this sacrament occurs.The composition resembles that of Masaccio's San Giovenale Triptych . The scheme is also similar to the cartoon of the Assumption by Lorenzo Ghiberti for the windows in the façade of Florence Cathedral . It is also one of the most ancient polyptychs in which the figures are in the same painted surface, without being divided into different compartments.Elements such as the less evolved perspective and the tile pavements  led to the datation of some three years before his San Pietro Martire Triptych, which is documented from 1428.The work had a predella, now at the National Gallery, London and portraying Adoration of Saints, Prophets and Members of the Dominican Order. The latter also houses a tondo with St. Romulus, perhaps located above the polyptych. The side pillars were decorated by ten small panels with saints and blessed, four of which are known today: two are at the Musée Condé of Chantilly and two in private collections.</div>

Prompt: フィエーゾレの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。

Barnabas
Dominican Order
Eucharist
Florence Cathedral
Lorenzo Ghiberti
Maestà
Masaccio
Musée Condé
National Gallery
San Giovenale Triptych
San Pietro Martire Triptych
Thomas Aquinas


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フィエーゾレの祭壇画

The work is a Maestà, a Madonna enthroned, a theme particularly fashionable in Florentine art at the time. The central group with the Madonna and Child is surrounded by eight adoring angels depicted in smaller size. The saints Thomas Aquinas, Barnabas, Dominic and Peter of Verona are at the sides: these were three saints of the Dominican Order  and the namesake of Barnaba degli Agli, a Florentine man who had donated 6,000 florins for the convent's restoration and enlargement.The naked Child is shown while grasping two flowers: a white rose, symbol of purity, and a red one, a forecast of his future passion connected with the Eucharist: the panel was in fact painted for the church's high altar, where the celebration of this sacrament occurs.The composition resembles that of Masaccio's San Giovenale Triptych . The scheme is also similar to the cartoon of the Assumption by Lorenzo Ghiberti for the windows in the façade of Florence Cathedral . It is also one of the most ancient polyptychs in which the figures are in the same painted surface, without being divided into different compartments.Elements such as the less evolved perspective and the tile pavements  led to the datation of some three years before his San Pietro Martire Triptych, which is documented from 1428.The work had a predella, now at the National Gallery, London and portraying Adoration of Saints, Prophets and Members of the Dominican Order. The latter also houses a tondo with St. Romulus, perhaps located above the polyptych. The side pillars were decorated by ten small panels with saints and blessed, four of which are known today: two are at the Musée Condé of Chantilly and two in private collections.</div>

Prompt: フィエーゾレの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。

Barnabas
Dominican Order
Eucharist
Florence Cathedral
Lorenzo Ghiberti
Maestà
Masaccio
Musée Condé
National Gallery
San Giovenale Triptych
San Pietro Martire Triptych
Thomas Aquinas


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フィエーゾレの祭壇画

The work is a Maestà, a Madonna enthroned, a theme particularly fashionable in Florentine art at the time. The central group with the Madonna and Child is surrounded by eight adoring angels depicted in smaller size. The saints Thomas Aquinas, Barnabas, Dominic and Peter of Verona are at the sides: these were three saints of the Dominican Order  and the namesake of Barnaba degli Agli, a Florentine man who had donated 6,000 florins for the convent's restoration and enlargement.The naked Child is shown while grasping two flowers: a white rose, symbol of purity, and a red one, a forecast of his future passion connected with the Eucharist: the panel was in fact painted for the church's high altar, where the celebration of this sacrament occurs.The composition resembles that of Masaccio's San Giovenale Triptych . The scheme is also similar to the cartoon of the Assumption by Lorenzo Ghiberti for the windows in the façade of Florence Cathedral . It is also one of the most ancient polyptychs in which the figures are in the same painted surface, without being divided into different compartments.Elements such as the less evolved perspective and the tile pavements  led to the datation of some three years before his San Pietro Martire Triptych, which is documented from 1428.The work had a predella, now at the National Gallery, London and portraying Adoration of Saints, Prophets and Members of the Dominican Order. The latter also houses a tondo with St. Romulus, perhaps located above the polyptych. The side pillars were decorated by ten small panels with saints and blessed, four of which are known today: two are at the Musée Condé of Chantilly and two in private collections.</div>

Prompt: フィエーゾレの祭壇画に関して、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。

Barnabas
Dominican Order
Eucharist
Florence Cathedral
Lorenzo Ghiberti
Maestà
Masaccio
Musée Condé
National Gallery
San Giovenale Triptych
San Pietro Martire Triptych
Thomas Aquinas


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一万人のキリスト教徒の殉教 (デューラー)

The Martyrdom of the Ten Thousand is an oil painting by Albrecht Dürer, dating to 1508 and now at the Kunsthistorisches Museum of Vienna, Austria. It is signed on a cartouche which hangs from the artist's self-portrait in the center, saying Iste faciebat Ano Domini 1508 Albertus Dürer Aleman.

Prompt: 一万人のキリスト教徒の殉教 (デューラー)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。

Albrecht Dürer
Austria
Kunsthistorisches Museum
Vienna


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一万人のキリスト教徒の殉教 (デューラー)

The Martyrdom of the Ten Thousand is an oil painting by Albrecht Dürer, dating to 1508 and now at the Kunsthistorisches Museum of Vienna, Austria. It is signed on a cartouche which hangs from the artist's self-portrait in the center, saying Iste faciebat Ano Domini 1508 Albertus Dürer Aleman.

Prompt: 一万人のキリスト教徒の殉教 (デューラー)の抽象を説明してください。英語で出力して下さい。

Albrecht Dürer
Austria
Kunsthistorisches Museum
Vienna


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一万人のキリスト教徒の殉教 (デューラー)

The Martyrdom of the Ten Thousand is an oil painting by Albrecht Dürer, dating to 1508 and now at the Kunsthistorisches Museum of Vienna, Austria. It is signed on a cartouche which hangs from the artist's self-portrait in the center, saying Iste faciebat Ano Domini 1508 Albertus Dürer Aleman.

Prompt: 一万人のキリスト教徒の殉教 (デューラー)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。

Albrecht Dürer
Austria
Kunsthistorisches Museum
Vienna


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一万人のキリスト教徒の殉教 (デューラー)

The Martyrdom of the Ten Thousand is an oil painting by Albrecht Dürer, dating to 1508 and now at the Kunsthistorisches Museum of Vienna, Austria. It is signed on a cartouche which hangs from the artist's self-portrait in the center, saying Iste faciebat Ano Domini 1508 Albertus Dürer Aleman.

Prompt: 一万人のキリスト教徒の殉教 (デューラー)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。

Albrecht Dürer
Austria
Kunsthistorisches Museum
Vienna


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一万人のキリスト教徒の殉教 (デューラー)

The painting was commissioned by Frederick III, Elector of Saxony for the All Saints' Church, Wittenberg. Frederick had been Dürer's patron since 1496. He himself chose the subject, as his collection of relics included some of the Ten thousand martyrs.left220pxDürer had used the same subject for a woodcut of some ten years before, but in the new work he eliminated some macabre details such as the torture of the bishop Acacius,  having his eyes stripped through a drill. This scene was replaced by a crucifixion on the right and by the presence of the bishop in chains behind it.260pxDetail of the forest.thumbThe work was repeatedly mentioned in the correspondence between the artist and  Jakob Heller of Frankfurt.  Dürer received  280 florins for it.

Prompt: 一万人のキリスト教徒の殉教 (デューラー)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。

All Saints' Church, Wittenberg
Frankfurt
Frederick III, Elector of Saxony
Jakob Heller
Ten thousand martyrs


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一万人のキリスト教徒の殉教 (デューラー)

The painting was commissioned by Frederick III, Elector of Saxony for the All Saints' Church, Wittenberg. Frederick had been Dürer's patron since 1496. He himself chose the subject, as his collection of relics included some of the Ten thousand martyrs.left220pxDürer had used the same subject for a woodcut of some ten years before, but in the new work he eliminated some macabre details such as the torture of the bishop Acacius,  having his eyes stripped through a drill. This scene was replaced by a crucifixion on the right and by the presence of the bishop in chains behind it.260pxDetail of the forest.thumbThe work was repeatedly mentioned in the correspondence between the artist and  Jakob Heller of Frankfurt.  Dürer received  280 florins for it.

Prompt: 一万人のキリスト教徒の殉教 (デューラー)の歴史を説明してください。英語で出力して下さい。

All Saints' Church, Wittenberg
Frankfurt
Frederick III, Elector of Saxony
Jakob Heller
Ten thousand martyrs


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一万人のキリスト教徒の殉教 (デューラー)

The painting was commissioned by Frederick III, Elector of Saxony for the All Saints' Church, Wittenberg. Frederick had been Dürer's patron since 1496. He himself chose the subject, as his collection of relics included some of the Ten thousand martyrs.left220pxDürer had used the same subject for a woodcut of some ten years before, but in the new work he eliminated some macabre details such as the torture of the bishop Acacius,  having his eyes stripped through a drill. This scene was replaced by a crucifixion on the right and by the presence of the bishop in chains behind it.260pxDetail of the forest.thumbThe work was repeatedly mentioned in the correspondence between the artist and  Jakob Heller of Frankfurt.  Dürer received  280 florins for it.

Prompt: 一万人のキリスト教徒の殉教 (デューラー)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。

All Saints' Church, Wittenberg
Frankfurt
Frederick III, Elector of Saxony
Jakob Heller
Ten thousand martyrs


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一万人のキリスト教徒の殉教 (デューラー)

The painting was commissioned by Frederick III, Elector of Saxony for the All Saints' Church, Wittenberg. Frederick had been Dürer's patron since 1496. He himself chose the subject, as his collection of relics included some of the Ten thousand martyrs.left220pxDürer had used the same subject for a woodcut of some ten years before, but in the new work he eliminated some macabre details such as the torture of the bishop Acacius,  having his eyes stripped through a drill. This scene was replaced by a crucifixion on the right and by the presence of the bishop in chains behind it.260pxDetail of the forest.thumbThe work was repeatedly mentioned in the correspondence between the artist and  Jakob Heller of Frankfurt.  Dürer received  280 florins for it.

Prompt: 一万人のキリスト教徒の殉教 (デューラー)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。

All Saints' Church, Wittenberg
Frankfurt
Frederick III, Elector of Saxony
Jakob Heller
Ten thousand martyrs


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一万人のキリスト教徒の殉教 (デューラー)

The painting illustrates the legendary martyrdom of ten thousand Christian soldiers perpetrated on Mount Ararat by the King of Persia, Shapur I, by the order of the Roman emperor Hadrian or Antoninus Pius, or, according to other sources, Diocletian.Dürer painted numerous different martyrdom scenes within a forest with clearings and cliffs. In the foreground are crucifixions, decapitations, crushing with a hammer. The Persian King is portrayed as an Ottoman sultan, riding a horse on the right. The executioners also wear gaudy Ottoman dress. In the background are prisoners walking through to a cliff from where they are thrown down against rocks and thorny bushes, as well as scenes of fighting, stoning and hitting with huge clubs.At the center of the crowded scene, dressed in black, are two characters who walk placidly, apparently unaware of the horrors around them: one is Dürer's self-portrait , the other his friend and humanist Conrad Celtes, who had died a few months before the execution of the painting.

Prompt: 一万人のキリスト教徒の殉教 (デューラー)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。

Antoninus Pius
Conrad Celtes
Diocletian
Hadrian
Mount Ararat
Shapur I


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一万人のキリスト教徒の殉教 (デューラー)

The painting illustrates the legendary martyrdom of ten thousand Christian soldiers perpetrated on Mount Ararat by the King of Persia, Shapur I, by the order of the Roman emperor Hadrian or Antoninus Pius, or, according to other sources, Diocletian.Dürer painted numerous different martyrdom scenes within a forest with clearings and cliffs. In the foreground are crucifixions, decapitations, crushing with a hammer. The Persian King is portrayed as an Ottoman sultan, riding a horse on the right. The executioners also wear gaudy Ottoman dress. In the background are prisoners walking through to a cliff from where they are thrown down against rocks and thorny bushes, as well as scenes of fighting, stoning and hitting with huge clubs.At the center of the crowded scene, dressed in black, are two characters who walk placidly, apparently unaware of the horrors around them: one is Dürer's self-portrait , the other his friend and humanist Conrad Celtes, who had died a few months before the execution of the painting.

Prompt: 一万人のキリスト教徒の殉教 (デューラー)の説明を説明してください。英語で出力して下さい。

Antoninus Pius
Conrad Celtes
Diocletian
Hadrian
Mount Ararat
Shapur I


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一万人のキリスト教徒の殉教 (デューラー)

The painting illustrates the legendary martyrdom of ten thousand Christian soldiers perpetrated on Mount Ararat by the King of Persia, Shapur I, by the order of the Roman emperor Hadrian or Antoninus Pius, or, according to other sources, Diocletian.Dürer painted numerous different martyrdom scenes within a forest with clearings and cliffs. In the foreground are crucifixions, decapitations, crushing with a hammer. The Persian King is portrayed as an Ottoman sultan, riding a horse on the right. The executioners also wear gaudy Ottoman dress. In the background are prisoners walking through to a cliff from where they are thrown down against rocks and thorny bushes, as well as scenes of fighting, stoning and hitting with huge clubs.At the center of the crowded scene, dressed in black, are two characters who walk placidly, apparently unaware of the horrors around them: one is Dürer's self-portrait , the other his friend and humanist Conrad Celtes, who had died a few months before the execution of the painting.

Prompt: 一万人のキリスト教徒の殉教 (デューラー)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。

Antoninus Pius
Conrad Celtes
Diocletian
Hadrian
Mount Ararat
Shapur I


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一万人のキリスト教徒の殉教 (デューラー)

The painting illustrates the legendary martyrdom of ten thousand Christian soldiers perpetrated on Mount Ararat by the King of Persia, Shapur I, by the order of the Roman emperor Hadrian or Antoninus Pius, or, according to other sources, Diocletian.Dürer painted numerous different martyrdom scenes within a forest with clearings and cliffs. In the foreground are crucifixions, decapitations, crushing with a hammer. The Persian King is portrayed as an Ottoman sultan, riding a horse on the right. The executioners also wear gaudy Ottoman dress. In the background are prisoners walking through to a cliff from where they are thrown down against rocks and thorny bushes, as well as scenes of fighting, stoning and hitting with huge clubs.At the center of the crowded scene, dressed in black, are two characters who walk placidly, apparently unaware of the horrors around them: one is Dürer's self-portrait , the other his friend and humanist Conrad Celtes, who had died a few months before the execution of the painting.

Prompt: 一万人のキリスト教徒の殉教 (デューラー)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。

Antoninus Pius
Conrad Celtes
Diocletian
Hadrian
Mount Ararat
Shapur I


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一万人のキリスト教徒の殉教 (デューラー)

Prompt: 一万人のキリスト教徒の殉教 (デューラー)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。

Albrecht Dürer
List of paintings by Albrecht Dürer


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一万人のキリスト教徒の殉教 (デューラー)

Prompt: 一万人のキリスト教徒の殉教 (デューラー)の参照を説明してください。英語で出力して下さい。

Albrecht Dürer
List of paintings by Albrecht Dürer


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一万人のキリスト教徒の殉教 (デューラー)

Prompt: 一万人のキリスト教徒の殉教 (デューラー)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。

Albrecht Dürer
List of paintings by Albrecht Dürer


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一万人のキリスト教徒の殉教 (デューラー)

Prompt: 一万人のキリスト教徒の殉教 (デューラー)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。

Albrecht Dürer
List of paintings by Albrecht Dürer


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一万人のキリスト教徒の殉教 (デューラー)

Category:Paintings by Albrecht DürerCategory:1508 paintingsCategory:Paintings in the Kunsthistorisches MuseumCategory:Self-portraitsCategory:Religious paintingsCategory:Paintings about deathCategory:Christian art about deathCategory:Dogs in artCategory:Horses in artcategory:Paintings of Saint Maurice

Prompt: 一万人のキリスト教徒の殉教 (デューラー)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。


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一万人のキリスト教徒の殉教 (デューラー)

Category:Paintings by Albrecht DürerCategory:1508 paintingsCategory:Paintings in the Kunsthistorisches MuseumCategory:Self-portraitsCategory:Religious paintingsCategory:Paintings about deathCategory:Christian art about deathCategory:Dogs in artCategory:Horses in artcategory:Paintings of Saint Maurice

Prompt: 一万人のキリスト教徒の殉教 (デューラー)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。


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一万人のキリスト教徒の殉教 (デューラー)

Category:Paintings by Albrecht DürerCategory:1508 paintingsCategory:Paintings in the Kunsthistorisches MuseumCategory:Self-portraitsCategory:Religious paintingsCategory:Paintings about deathCategory:Christian art about deathCategory:Dogs in artCategory:Horses in artcategory:Paintings of Saint Maurice

Prompt: 一万人のキリスト教徒の殉教 (デューラー)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。


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一万人のキリスト教徒の殉教 (デューラー)

Category:Paintings by Albrecht DürerCategory:1508 paintingsCategory:Paintings in the Kunsthistorisches MuseumCategory:Self-portraitsCategory:Religious paintingsCategory:Paintings about deathCategory:Christian art about deathCategory:Dogs in artCategory:Horses in artcategory:Paintings of Saint Maurice

Prompt: 一万人のキリスト教徒の殉教 (デューラー)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。


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皇帝マクシミリアン1世の肖像

The Portrait of Emperor Maximilian I is an oil painting by Albrecht Dürer, dating to 1519 and now at the Kunsthistorisches Museum of Vienna, Austria. It portrays the emperor Maximilian I.

Prompt: 皇帝マクシミリアン1世の肖像に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Albrecht Dürer
Austria
Kunsthistorisches Museum
Vienna


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皇帝マクシミリアン1世の肖像

The Portrait of Emperor Maximilian I is an oil painting by Albrecht Dürer, dating to 1519 and now at the Kunsthistorisches Museum of Vienna, Austria. It portrays the emperor Maximilian I.

Prompt: 皇帝マクシミリアン1世の肖像の抽象を説明してください。英語で出力して下さい。

Albrecht Dürer
Austria
Kunsthistorisches Museum
Vienna


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皇帝マクシミリアン1世の肖像

The Portrait of Emperor Maximilian I is an oil painting by Albrecht Dürer, dating to 1519 and now at the Kunsthistorisches Museum of Vienna, Austria. It portrays the emperor Maximilian I.

Prompt: 皇帝マクシミリアン1世の肖像はどのように抽象を説明していますか？英語で出力して下さい。

Albrecht Dürer
Austria
Kunsthistorisches Museum
Vienna


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皇帝マクシミリアン1世の肖像

The Portrait of Emperor Maximilian I is an oil painting by Albrecht Dürer, dating to 1519 and now at the Kunsthistorisches Museum of Vienna, Austria. It portrays the emperor Maximilian I.

Prompt: 皇帝マクシミリアン1世の肖像に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Albrecht Dürer
Austria
Kunsthistorisches Museum
Vienna


section

皇帝マクシミリアン1世の肖像

In the Spring of 1512, the newly elected emperor Maximilian I of Habsburg sojourned in Nuremberg, where he got acquainted with  Dürer. To celebrate the emperor and his house, the artist conceived the large Triumphal Arch woodcut, for which he was rewarded with 100 yearly florins. left220pxIn 1518, during the Diet of Augsburg, Maximilian called Dürer to portray him. The artist met the emperor in the castle and made a pencil drawing of him, from which he later painted the panel portrait. On the drawing's margin, he noted: "Is the emperor Maximilian that I Albrecht Dürer portrayed in Augsburg, up in the high palace, in his small room, Monday 28 June 1518".The oil panel was completed when the emperor had already died, with some variants from the initial drawing. The latter is now housed in the Albertina, Vienna.

Prompt: 皇帝マクシミリアン1世の肖像に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Albertina
Albrecht Dürer
Diet of Augsburg
Nuremberg
Vienna


section

皇帝マクシミリアン1世の肖像

In the Spring of 1512, the newly elected emperor Maximilian I of Habsburg sojourned in Nuremberg, where he got acquainted with  Dürer. To celebrate the emperor and his house, the artist conceived the large Triumphal Arch woodcut, for which he was rewarded with 100 yearly florins. left220pxIn 1518, during the Diet of Augsburg, Maximilian called Dürer to portray him. The artist met the emperor in the castle and made a pencil drawing of him, from which he later painted the panel portrait. On the drawing's margin, he noted: "Is the emperor Maximilian that I Albrecht Dürer portrayed in Augsburg, up in the high palace, in his small room, Monday 28 June 1518".The oil panel was completed when the emperor had already died, with some variants from the initial drawing. The latter is now housed in the Albertina, Vienna.

Prompt: 皇帝マクシミリアン1世の肖像の歴史を説明してください。英語で出力して下さい。

Albertina
Albrecht Dürer
Diet of Augsburg
Nuremberg
Vienna


section

皇帝マクシミリアン1世の肖像

In the Spring of 1512, the newly elected emperor Maximilian I of Habsburg sojourned in Nuremberg, where he got acquainted with  Dürer. To celebrate the emperor and his house, the artist conceived the large Triumphal Arch woodcut, for which he was rewarded with 100 yearly florins. left220pxIn 1518, during the Diet of Augsburg, Maximilian called Dürer to portray him. The artist met the emperor in the castle and made a pencil drawing of him, from which he later painted the panel portrait. On the drawing's margin, he noted: "Is the emperor Maximilian that I Albrecht Dürer portrayed in Augsburg, up in the high palace, in his small room, Monday 28 June 1518".The oil panel was completed when the emperor had already died, with some variants from the initial drawing. The latter is now housed in the Albertina, Vienna.

Prompt: 皇帝マクシミリアン1世の肖像はどのように歴史を説明していますか？英語で出力して下さい。

Albertina
Albrecht Dürer
Diet of Augsburg
Nuremberg
Vienna


section

皇帝マクシミリアン1世の肖像

In the Spring of 1512, the newly elected emperor Maximilian I of Habsburg sojourned in Nuremberg, where he got acquainted with  Dürer. To celebrate the emperor and his house, the artist conceived the large Triumphal Arch woodcut, for which he was rewarded with 100 yearly florins. left220pxIn 1518, during the Diet of Augsburg, Maximilian called Dürer to portray him. The artist met the emperor in the castle and made a pencil drawing of him, from which he later painted the panel portrait. On the drawing's margin, he noted: "Is the emperor Maximilian that I Albrecht Dürer portrayed in Augsburg, up in the high palace, in his small room, Monday 28 June 1518".The oil panel was completed when the emperor had already died, with some variants from the initial drawing. The latter is now housed in the Albertina, Vienna.

Prompt: 皇帝マクシミリアン1世の肖像に関して、どのように歴史が議論されていますか？英語で出力して下さい。

Albertina
Albrecht Dürer
Diet of Augsburg
Nuremberg
Vienna


section

皇帝マクシミリアン1世の肖像

The emperor is portrayed from  three-quarter  on a green background. The arms lie on an unseen parapet coinciding with the lower boundary of the painting, according to the Flemish painting tradition. His left hand holds a large pomegranate , a symbol of cohesion in diversity and thus of the Holy Roman Empire .According to Stabius's explanation on the Arch of Honour, the symbolism behind the pomegranate  is like this, "although a pomegranate's exterior is neither very beautiful nor endowed with a pleasant scent, it is sweet on the inside and is filled with a great many well-shaped seeds. Likewise the Emperor is endowed with many hidden qualities which became more and more apparent each day and continue to bear fruit."Maximilian wears a gown with a very wide fur collar and a broad-brimmed dark hat, with a brooch in the center. His grey hair crown his aged  but still aristocratic face.In the upper left is the Habsburg coat of arms and Golden Fleece chain, near a long inscription in capital characters which gives the titles and the deeds of the emperor.

Prompt: 皇帝マクシミリアン1世の肖像に焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

皇帝マクシミリアン1世の肖像

The emperor is portrayed from  three-quarter  on a green background. The arms lie on an unseen parapet coinciding with the lower boundary of the painting, according to the Flemish painting tradition. His left hand holds a large pomegranate , a symbol of cohesion in diversity and thus of the Holy Roman Empire .According to Stabius's explanation on the Arch of Honour, the symbolism behind the pomegranate  is like this, "although a pomegranate's exterior is neither very beautiful nor endowed with a pleasant scent, it is sweet on the inside and is filled with a great many well-shaped seeds. Likewise the Emperor is endowed with many hidden qualities which became more and more apparent each day and continue to bear fruit."Maximilian wears a gown with a very wide fur collar and a broad-brimmed dark hat, with a brooch in the center. His grey hair crown his aged  but still aristocratic face.In the upper left is the Habsburg coat of arms and Golden Fleece chain, near a long inscription in capital characters which gives the titles and the deeds of the emperor.

Prompt: 皇帝マクシミリアン1世の肖像の説明を説明してください。英語で出力して下さい。


section

皇帝マクシミリアン1世の肖像

The emperor is portrayed from  three-quarter  on a green background. The arms lie on an unseen parapet coinciding with the lower boundary of the painting, according to the Flemish painting tradition. His left hand holds a large pomegranate , a symbol of cohesion in diversity and thus of the Holy Roman Empire .According to Stabius's explanation on the Arch of Honour, the symbolism behind the pomegranate  is like this, "although a pomegranate's exterior is neither very beautiful nor endowed with a pleasant scent, it is sweet on the inside and is filled with a great many well-shaped seeds. Likewise the Emperor is endowed with many hidden qualities which became more and more apparent each day and continue to bear fruit."Maximilian wears a gown with a very wide fur collar and a broad-brimmed dark hat, with a brooch in the center. His grey hair crown his aged  but still aristocratic face.In the upper left is the Habsburg coat of arms and Golden Fleece chain, near a long inscription in capital characters which gives the titles and the deeds of the emperor.

Prompt: 皇帝マクシミリアン1世の肖像はどのように説明を説明していますか？英語で出力して下さい。


section

皇帝マクシミリアン1世の肖像

The emperor is portrayed from  three-quarter  on a green background. The arms lie on an unseen parapet coinciding with the lower boundary of the painting, according to the Flemish painting tradition. His left hand holds a large pomegranate , a symbol of cohesion in diversity and thus of the Holy Roman Empire .According to Stabius's explanation on the Arch of Honour, the symbolism behind the pomegranate  is like this, "although a pomegranate's exterior is neither very beautiful nor endowed with a pleasant scent, it is sweet on the inside and is filled with a great many well-shaped seeds. Likewise the Emperor is endowed with many hidden qualities which became more and more apparent each day and continue to bear fruit."Maximilian wears a gown with a very wide fur collar and a broad-brimmed dark hat, with a brooch in the center. His grey hair crown his aged  but still aristocratic face.In the upper left is the Habsburg coat of arms and Golden Fleece chain, near a long inscription in capital characters which gives the titles and the deeds of the emperor.

Prompt: 皇帝マクシミリアン1世の肖像に関して、どのように説明が議論されていますか？英語で出力して下さい。


section

皇帝マクシミリアン1世の肖像

Katherine Crawford Luber compares the more famous Vienna painting, likely a commission from Maximilian himself, with the Nuremberg version, possibly a processional banner created for the coronation of Charles V. The Nuremberg shows a younger Maximilian with more emphasized symbols of Office and Rule . He is presented in half-length with his hands in a hieratic, axial position. The intimate meeting with Maximilian "high up in the palace in his tiny little cabinet"  seemed to leave an impression on Dürer. Luber opines that the woodcut The draughtsman drawing a portrait he produced later reflected this meeting. The man enthroned was cradling an orb just like Maximilian was holding his pomegranate.Luber writes:

Prompt: 皇帝マクシミリアン1世の肖像に焦点を当てて、そのアルブレヒト・デューラーの関連作品との比較を説明してください。英語で出力して下さい。


section

皇帝マクシミリアン1世の肖像

Katherine Crawford Luber compares the more famous Vienna painting, likely a commission from Maximilian himself, with the Nuremberg version, possibly a processional banner created for the coronation of Charles V. The Nuremberg shows a younger Maximilian with more emphasized symbols of Office and Rule . He is presented in half-length with his hands in a hieratic, axial position. The intimate meeting with Maximilian "high up in the palace in his tiny little cabinet"  seemed to leave an impression on Dürer. Luber opines that the woodcut The draughtsman drawing a portrait he produced later reflected this meeting. The man enthroned was cradling an orb just like Maximilian was holding his pomegranate.Luber writes:

Prompt: 皇帝マクシミリアン1世の肖像のアルブレヒト・デューラーの関連作品との比較を説明してください。英語で出力して下さい。


section

皇帝マクシミリアン1世の肖像

Katherine Crawford Luber compares the more famous Vienna painting, likely a commission from Maximilian himself, with the Nuremberg version, possibly a processional banner created for the coronation of Charles V. The Nuremberg shows a younger Maximilian with more emphasized symbols of Office and Rule . He is presented in half-length with his hands in a hieratic, axial position. The intimate meeting with Maximilian "high up in the palace in his tiny little cabinet"  seemed to leave an impression on Dürer. Luber opines that the woodcut The draughtsman drawing a portrait he produced later reflected this meeting. The man enthroned was cradling an orb just like Maximilian was holding his pomegranate.Luber writes:

Prompt: 皇帝マクシミリアン1世の肖像はどのようにアルブレヒト・デューラーの関連作品との比較を説明していますか？英語で出力して下さい。


section

皇帝マクシミリアン1世の肖像

Katherine Crawford Luber compares the more famous Vienna painting, likely a commission from Maximilian himself, with the Nuremberg version, possibly a processional banner created for the coronation of Charles V. The Nuremberg shows a younger Maximilian with more emphasized symbols of Office and Rule . He is presented in half-length with his hands in a hieratic, axial position. The intimate meeting with Maximilian "high up in the palace in his tiny little cabinet"  seemed to leave an impression on Dürer. Luber opines that the woodcut The draughtsman drawing a portrait he produced later reflected this meeting. The man enthroned was cradling an orb just like Maximilian was holding his pomegranate.Luber writes:

Prompt: 皇帝マクシミリアン1世の肖像に関して、どのようにアルブレヒト・デューラーの関連作品との比較が議論されていますか？英語で出力して下さい。


section

皇帝マクシミリアン1世の肖像

Prompt: 皇帝マクシミリアン1世の肖像に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Albrecht Dürer
List of paintings by Albrecht Dürer


section

皇帝マクシミリアン1世の肖像

Prompt: 皇帝マクシミリアン1世の肖像の参照を説明してください。英語で出力して下さい。

Albrecht Dürer
List of paintings by Albrecht Dürer


section

皇帝マクシミリアン1世の肖像

Prompt: 皇帝マクシミリアン1世の肖像はどのように参照を説明していますか？英語で出力して下さい。

Albrecht Dürer
List of paintings by Albrecht Dürer


section

皇帝マクシミリアン1世の肖像

Prompt: 皇帝マクシミリアン1世の肖像に関して、どのように参照が議論されていますか？英語で出力して下さい。

Albrecht Dürer
List of paintings by Albrecht Dürer


section

アヴェロルディ家の祭壇画

image_size = 350px artist=Titian year=1520–1522 medium=oil on panel height_metric = 278 width_metric = 292 museum=Santi Nazaro e Celso city = Brescia italic title=no}}The Averoldi Polyptych, also known as the Averoldi Altarpiece, is a painting by the Italian Renaissance painter Titian, dating to 1520–1522, in the basilica church of Santi Nazaro e Celso in Brescia, northern Italy.It is signed  "Ticianus Faciebat / MDXXII" on the column of the panel showing St. Sebastian.

Prompt: アヴェロルディ家の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。


section

アヴェロルディ家の祭壇画

image_size = 350px artist=Titian year=1520–1522 medium=oil on panel height_metric = 278 width_metric = 292 museum=Santi Nazaro e Celso city = Brescia italic title=no}}The Averoldi Polyptych, also known as the Averoldi Altarpiece, is a painting by the Italian Renaissance painter Titian, dating to 1520–1522, in the basilica church of Santi Nazaro e Celso in Brescia, northern Italy.It is signed  "Ticianus Faciebat / MDXXII" on the column of the panel showing St. Sebastian.

Prompt: アヴェロルディ家の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。


section

アヴェロルディ家の祭壇画

image_size = 350px artist=Titian year=1520–1522 medium=oil on panel height_metric = 278 width_metric = 292 museum=Santi Nazaro e Celso city = Brescia italic title=no}}The Averoldi Polyptych, also known as the Averoldi Altarpiece, is a painting by the Italian Renaissance painter Titian, dating to 1520–1522, in the basilica church of Santi Nazaro e Celso in Brescia, northern Italy.It is signed  "Ticianus Faciebat / MDXXII" on the column of the panel showing St. Sebastian.

Prompt: アヴェロルディ家の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。


section

アヴェロルディ家の祭壇画

image_size = 350px artist=Titian year=1520–1522 medium=oil on panel height_metric = 278 width_metric = 292 museum=Santi Nazaro e Celso city = Brescia italic title=no}}The Averoldi Polyptych, also known as the Averoldi Altarpiece, is a painting by the Italian Renaissance painter Titian, dating to 1520–1522, in the basilica church of Santi Nazaro e Celso in Brescia, northern Italy.It is signed  "Ticianus Faciebat / MDXXII" on the column of the panel showing St. Sebastian.

Prompt: アヴェロルディ家の祭壇画に関して、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。


section

アヴェロルディ家の祭壇画

The work was commissioned by Altobello Averoldi, papal legate to Venice, from Titian during the period when he was the official painter of the Republic of Venice. The work was delivered in 1522, as indicated by Titian's signature in the lower right panel. The large polyptych was placed behind the high altar of the church of Santi Nazaro e Celso of Brescia, replacing another altarpiece by Vincenzo Foppa . At this time Brescia formed part of Venice's mainland possessions.A first version of the St. Sebastian panel was offered to Duke Alfonso d'Este of Ferrara in compensation for Titian's late completion of his  Bacchanalia. The Duke declined the offer, and the early St. Sebastian was perhaps sent to Mantua, where one such painting is mentioned among the works of art sold by the Gonzaga to Charles I of England. Its whereabouts after that are unknown.Averoldi subsequently also started to complain about Titian's late delivery.

Prompt: アヴェロルディ家の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。

Brescia
Charles I of England
Mantua
Republic of Venice
Titian
Venice
Vincenzo Foppa


section

アヴェロルディ家の祭壇画

The work was commissioned by Altobello Averoldi, papal legate to Venice, from Titian during the period when he was the official painter of the Republic of Venice. The work was delivered in 1522, as indicated by Titian's signature in the lower right panel. The large polyptych was placed behind the high altar of the church of Santi Nazaro e Celso of Brescia, replacing another altarpiece by Vincenzo Foppa . At this time Brescia formed part of Venice's mainland possessions.A first version of the St. Sebastian panel was offered to Duke Alfonso d'Este of Ferrara in compensation for Titian's late completion of his  Bacchanalia. The Duke declined the offer, and the early St. Sebastian was perhaps sent to Mantua, where one such painting is mentioned among the works of art sold by the Gonzaga to Charles I of England. Its whereabouts after that are unknown.Averoldi subsequently also started to complain about Titian's late delivery.

Prompt: アヴェロルディ家の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。

Brescia
Charles I of England
Mantua
Republic of Venice
Titian
Venice
Vincenzo Foppa


section

アヴェロルディ家の祭壇画

The work was commissioned by Altobello Averoldi, papal legate to Venice, from Titian during the period when he was the official painter of the Republic of Venice. The work was delivered in 1522, as indicated by Titian's signature in the lower right panel. The large polyptych was placed behind the high altar of the church of Santi Nazaro e Celso of Brescia, replacing another altarpiece by Vincenzo Foppa . At this time Brescia formed part of Venice's mainland possessions.A first version of the St. Sebastian panel was offered to Duke Alfonso d'Este of Ferrara in compensation for Titian's late completion of his  Bacchanalia. The Duke declined the offer, and the early St. Sebastian was perhaps sent to Mantua, where one such painting is mentioned among the works of art sold by the Gonzaga to Charles I of England. Its whereabouts after that are unknown.Averoldi subsequently also started to complain about Titian's late delivery.

Prompt: アヴェロルディ家の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。

Brescia
Charles I of England
Mantua
Republic of Venice
Titian
Venice
Vincenzo Foppa


section

アヴェロルディ家の祭壇画

The work was commissioned by Altobello Averoldi, papal legate to Venice, from Titian during the period when he was the official painter of the Republic of Venice. The work was delivered in 1522, as indicated by Titian's signature in the lower right panel. The large polyptych was placed behind the high altar of the church of Santi Nazaro e Celso of Brescia, replacing another altarpiece by Vincenzo Foppa . At this time Brescia formed part of Venice's mainland possessions.A first version of the St. Sebastian panel was offered to Duke Alfonso d'Este of Ferrara in compensation for Titian's late completion of his  Bacchanalia. The Duke declined the offer, and the early St. Sebastian was perhaps sent to Mantua, where one such painting is mentioned among the works of art sold by the Gonzaga to Charles I of England. Its whereabouts after that are unknown.Averoldi subsequently also started to complain about Titian's late delivery.

Prompt: アヴェロルディ家の祭壇画に関して、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。

Brescia
Charles I of England
Mantua
Republic of Venice
Titian
Venice
Vincenzo Foppa


section

アヴェロルディ家の祭壇画

The use of a compartmentally-divided polyptych, a solution that must have been rather old-fashioned for the time, is likely to have followed a specific request from Averoldi. In any event, Titian managed to produce a certain degree of unity, although not spatially or architecturally, unlike 15th century polyptychs. Instead, the Veneto-born painter adopted a chromatic-dynamic, with a sense of light converging towards the central scene.The panels are:Resurrection of Christ, 278x122 cmSaints Nazarius and Celsus with Donor, 170x65 cmSaint Sebastian, 170x65Angel of the Annunciation, 79x65 cmAnnunciation of the Virgin, 79x65 cmThe work inspired several Renaissance painters from the Brescia area, including Savoldo and Morettoleft

Prompt: アヴェロルディ家の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
Brescia
Nazarius and Celsus
Saint Sebastian
Titian


section

アヴェロルディ家の祭壇画

The use of a compartmentally-divided polyptych, a solution that must have been rather old-fashioned for the time, is likely to have followed a specific request from Averoldi. In any event, Titian managed to produce a certain degree of unity, although not spatially or architecturally, unlike 15th century polyptychs. Instead, the Veneto-born painter adopted a chromatic-dynamic, with a sense of light converging towards the central scene.The panels are:Resurrection of Christ, 278x122 cmSaints Nazarius and Celsus with Donor, 170x65 cmSaint Sebastian, 170x65Angel of the Annunciation, 79x65 cmAnnunciation of the Virgin, 79x65 cmThe work inspired several Renaissance painters from the Brescia area, including Savoldo and Morettoleft

Prompt: アヴェロルディ家の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
Brescia
Nazarius and Celsus
Saint Sebastian
Titian


section

アヴェロルディ家の祭壇画

The use of a compartmentally-divided polyptych, a solution that must have been rather old-fashioned for the time, is likely to have followed a specific request from Averoldi. In any event, Titian managed to produce a certain degree of unity, although not spatially or architecturally, unlike 15th century polyptychs. Instead, the Veneto-born painter adopted a chromatic-dynamic, with a sense of light converging towards the central scene.The panels are:Resurrection of Christ, 278x122 cmSaints Nazarius and Celsus with Donor, 170x65 cmSaint Sebastian, 170x65Angel of the Annunciation, 79x65 cmAnnunciation of the Virgin, 79x65 cmThe work inspired several Renaissance painters from the Brescia area, including Savoldo and Morettoleft

Prompt: アヴェロルディ家の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
Brescia
Nazarius and Celsus
Saint Sebastian
Titian


section

アヴェロルディ家の祭壇画

The use of a compartmentally-divided polyptych, a solution that must have been rather old-fashioned for the time, is likely to have followed a specific request from Averoldi. In any event, Titian managed to produce a certain degree of unity, although not spatially or architecturally, unlike 15th century polyptychs. Instead, the Veneto-born painter adopted a chromatic-dynamic, with a sense of light converging towards the central scene.The panels are:Resurrection of Christ, 278x122 cmSaints Nazarius and Celsus with Donor, 170x65 cmSaint Sebastian, 170x65Angel of the Annunciation, 79x65 cmAnnunciation of the Virgin, 79x65 cmThe work inspired several Renaissance painters from the Brescia area, including Savoldo and Morettoleft

Prompt: アヴェロルディ家の祭壇画に関して、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
Brescia
Nazarius and Celsus
Saint Sebastian
Titian


section

アヴェロルディ家の祭壇画

Prompt: アヴェロルディ家の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。


section

アヴェロルディ家の祭壇画

Prompt: アヴェロルディ家の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。


section

アヴェロルディ家の祭壇画

Prompt: アヴェロルディ家の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。


section

アヴェロルディ家の祭壇画

Prompt: アヴェロルディ家の祭壇画に関して、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。


subsection

アヴェロルディ家の祭壇画

The central scene depicts a triumphant risen Christ, high above, in a dark yellow and grey dawn sky. He holds aloft the banner of the Crusader saint, St. George, as an emblem of the Catholic church. Beneath him is a group of armour-clad soldiers.The work shows the influence of works by Raphael, such as the  Transfiguration  and the fresco of the Deliverance of Saint Peter for the quasi-night atmosphere. Another possible influence that has been suggested here is that of Danube school, in details such as the dramatic lighting effects on the landscape. A depiction of the ideal Jerusalem in the background was a Northern European fashion.

Prompt: アヴェロルディ家の祭壇画の文脈で、復活と説明を説明してください。英語で出力して下さい。

Danube school
Deliverance of Saint Peter
Raphael


subsection

アヴェロルディ家の祭壇画

The central scene depicts a triumphant risen Christ, high above, in a dark yellow and grey dawn sky. He holds aloft the banner of the Crusader saint, St. George, as an emblem of the Catholic church. Beneath him is a group of armour-clad soldiers.The work shows the influence of works by Raphael, such as the  Transfiguration  and the fresco of the Deliverance of Saint Peter for the quasi-night atmosphere. Another possible influence that has been suggested here is that of Danube school, in details such as the dramatic lighting effects on the landscape. A depiction of the ideal Jerusalem in the background was a Northern European fashion.

Prompt: アヴェロルディ家の祭壇画の説明に関する復活を説明してください。英語で出力して下さい。

Danube school
Deliverance of Saint Peter
Raphael


subsection

アヴェロルディ家の祭壇画

The central scene depicts a triumphant risen Christ, high above, in a dark yellow and grey dawn sky. He holds aloft the banner of the Crusader saint, St. George, as an emblem of the Catholic church. Beneath him is a group of armour-clad soldiers.The work shows the influence of works by Raphael, such as the  Transfiguration  and the fresco of the Deliverance of Saint Peter for the quasi-night atmosphere. Another possible influence that has been suggested here is that of Danube school, in details such as the dramatic lighting effects on the landscape. A depiction of the ideal Jerusalem in the background was a Northern European fashion.

Prompt: アヴェロルディ家の祭壇画では、どのように説明の復活が説明されていますか？英語で出力して下さい。

Danube school
Deliverance of Saint Peter
Raphael


subsection

アヴェロルディ家の祭壇画

The central scene depicts a triumphant risen Christ, high above, in a dark yellow and grey dawn sky. He holds aloft the banner of the Crusader saint, St. George, as an emblem of the Catholic church. Beneath him is a group of armour-clad soldiers.The work shows the influence of works by Raphael, such as the  Transfiguration  and the fresco of the Deliverance of Saint Peter for the quasi-night atmosphere. Another possible influence that has been suggested here is that of Danube school, in details such as the dramatic lighting effects on the landscape. A depiction of the ideal Jerusalem in the background was a Northern European fashion.

Prompt: アヴェロルディ家の祭壇画の説明における復活の特徴を説明してください。英語で出力して下さい。

Danube school
Deliverance of Saint Peter
Raphael


subsection

アヴェロルディ家の祭壇画

The left panel show the saints Nazarius and Celsus, to whom the church housing the altar was dedicated, on a gloomy background. Nazarius wears shining armor,  his disciple, Celsus, behind him. The kneeling donor, Altobello Averoldi, the papal legate to Venice, is portrayed in profile, stylistically reminiscent of the depiction of Sigismondo de' Conti in Raphael's Madonna of Foligno. The influence of Giorgione, who before his death in 1510 had worked with Titian, may be discerned in the calm atmosphere and the dull colors.upright

Prompt: アヴェロルディ家の祭壇画の文脈で、聖ナザリウスとケルスと寄贈者と説明を説明してください。英語で出力して下さい。

Giorgione
Madonna of Foligno
Nazarius and Celsus
Raphael
Titian
Venice


subsection

アヴェロルディ家の祭壇画

The left panel show the saints Nazarius and Celsus, to whom the church housing the altar was dedicated, on a gloomy background. Nazarius wears shining armor,  his disciple, Celsus, behind him. The kneeling donor, Altobello Averoldi, the papal legate to Venice, is portrayed in profile, stylistically reminiscent of the depiction of Sigismondo de' Conti in Raphael's Madonna of Foligno. The influence of Giorgione, who before his death in 1510 had worked with Titian, may be discerned in the calm atmosphere and the dull colors.upright

Prompt: アヴェロルディ家の祭壇画の説明に関する聖ナザリウスとケルスと寄贈者を説明してください。英語で出力して下さい。

Giorgione
Madonna of Foligno
Nazarius and Celsus
Raphael
Titian
Venice


subsection

アヴェロルディ家の祭壇画

The left panel show the saints Nazarius and Celsus, to whom the church housing the altar was dedicated, on a gloomy background. Nazarius wears shining armor,  his disciple, Celsus, behind him. The kneeling donor, Altobello Averoldi, the papal legate to Venice, is portrayed in profile, stylistically reminiscent of the depiction of Sigismondo de' Conti in Raphael's Madonna of Foligno. The influence of Giorgione, who before his death in 1510 had worked with Titian, may be discerned in the calm atmosphere and the dull colors.upright

Prompt: アヴェロルディ家の祭壇画では、どのように説明の聖ナザリウスとケルスと寄贈者が説明されていますか？英語で出力して下さい。

Giorgione
Madonna of Foligno
Nazarius and Celsus
Raphael
Titian
Venice


subsection

アヴェロルディ家の祭壇画

The left panel show the saints Nazarius and Celsus, to whom the church housing the altar was dedicated, on a gloomy background. Nazarius wears shining armor,  his disciple, Celsus, behind him. The kneeling donor, Altobello Averoldi, the papal legate to Venice, is portrayed in profile, stylistically reminiscent of the depiction of Sigismondo de' Conti in Raphael's Madonna of Foligno. The influence of Giorgione, who before his death in 1510 had worked with Titian, may be discerned in the calm atmosphere and the dull colors.upright

Prompt: アヴェロルディ家の祭壇画の説明における聖ナザリウスとケルスと寄贈者の特徴を説明してください。英語で出力して下さい。

Giorgione
Madonna of Foligno
Nazarius and Celsus
Raphael
Titian
Venice


subsection

アヴェロルディ家の祭壇画

The right-hand panel shows a traditional Martyrdom of Saint Sebastian, although in this case the saint is depicted in a rather contorted position. This may be derived from Michelangelo's Punishment of Aman on the Sistine Chapel ceiling, or from Raphael's Fire in the Borgo also in the Vatican. The saint's arms are tied to a tree trunk at different heights; the legs are also differently articulated because Sebastian's right foot rests on a section of a fallen stone column. It has been suggested that the saint's face resembles that of the risen Christ in the central panel. Some resemblance has also been claimed to Titian himself; he was 30-years-old at the time.In the background of this panel is an announcing angel. His gaze is directed towards Sebastian and to Saint Roch whom she is attending: prayers to both saints were invoked as a protection against the plague, and Roch's uncovered legs show the characteristic lesions.Two preparatory drawings of the panel exist: one  is at the Kupferstichkabinett in Berlin, and another  is in the Städel in Frankfurt.

Prompt: アヴェロルディ家の祭壇画の文脈で、セバスチャンと説明を説明してください。英語で出力して下さい。

Frankfurt
Michelangelo
Raphael
Saint Roch
Saint Sebastian
Sistine Chapel ceiling
Städel
Titian


subsection

アヴェロルディ家の祭壇画

The right-hand panel shows a traditional Martyrdom of Saint Sebastian, although in this case the saint is depicted in a rather contorted position. This may be derived from Michelangelo's Punishment of Aman on the Sistine Chapel ceiling, or from Raphael's Fire in the Borgo also in the Vatican. The saint's arms are tied to a tree trunk at different heights; the legs are also differently articulated because Sebastian's right foot rests on a section of a fallen stone column. It has been suggested that the saint's face resembles that of the risen Christ in the central panel. Some resemblance has also been claimed to Titian himself; he was 30-years-old at the time.In the background of this panel is an announcing angel. His gaze is directed towards Sebastian and to Saint Roch whom she is attending: prayers to both saints were invoked as a protection against the plague, and Roch's uncovered legs show the characteristic lesions.Two preparatory drawings of the panel exist: one  is at the Kupferstichkabinett in Berlin, and another  is in the Städel in Frankfurt.

Prompt: アヴェロルディ家の祭壇画の説明に関するセバスチャンを説明してください。英語で出力して下さい。

Frankfurt
Michelangelo
Raphael
Saint Roch
Saint Sebastian
Sistine Chapel ceiling
Städel
Titian


subsection

アヴェロルディ家の祭壇画

The right-hand panel shows a traditional Martyrdom of Saint Sebastian, although in this case the saint is depicted in a rather contorted position. This may be derived from Michelangelo's Punishment of Aman on the Sistine Chapel ceiling, or from Raphael's Fire in the Borgo also in the Vatican. The saint's arms are tied to a tree trunk at different heights; the legs are also differently articulated because Sebastian's right foot rests on a section of a fallen stone column. It has been suggested that the saint's face resembles that of the risen Christ in the central panel. Some resemblance has also been claimed to Titian himself; he was 30-years-old at the time.In the background of this panel is an announcing angel. His gaze is directed towards Sebastian and to Saint Roch whom she is attending: prayers to both saints were invoked as a protection against the plague, and Roch's uncovered legs show the characteristic lesions.Two preparatory drawings of the panel exist: one  is at the Kupferstichkabinett in Berlin, and another  is in the Städel in Frankfurt.

Prompt: アヴェロルディ家の祭壇画では、どのように説明のセバスチャンが説明されていますか？英語で出力して下さい。

Frankfurt
Michelangelo
Raphael
Saint Roch
Saint Sebastian
Sistine Chapel ceiling
Städel
Titian


subsection

アヴェロルディ家の祭壇画

The right-hand panel shows a traditional Martyrdom of Saint Sebastian, although in this case the saint is depicted in a rather contorted position. This may be derived from Michelangelo's Punishment of Aman on the Sistine Chapel ceiling, or from Raphael's Fire in the Borgo also in the Vatican. The saint's arms are tied to a tree trunk at different heights; the legs are also differently articulated because Sebastian's right foot rests on a section of a fallen stone column. It has been suggested that the saint's face resembles that of the risen Christ in the central panel. Some resemblance has also been claimed to Titian himself; he was 30-years-old at the time.In the background of this panel is an announcing angel. His gaze is directed towards Sebastian and to Saint Roch whom she is attending: prayers to both saints were invoked as a protection against the plague, and Roch's uncovered legs show the characteristic lesions.Two preparatory drawings of the panel exist: one  is at the Kupferstichkabinett in Berlin, and another  is in the Städel in Frankfurt.

Prompt: アヴェロルディ家の祭壇画の説明におけるセバスチャンの特徴を説明してください。英語で出力して下さい。

Frankfurt
Michelangelo
Raphael
Saint Roch
Saint Sebastian
Sistine Chapel ceiling
Städel
Titian


subsection

アヴェロルディ家の祭壇画

The two upper panels make up an Annunciation, with the announcing angel on the left and the Virgin on the right, according to a tradition dating from the Middle Ages. Titian represented the two figures in strong light, in particular the angel, which is illuminated from behind. His figure is unrolling a cartouche with the Gospel words Ave Gratia Plena, the salutation of the archangel Gabriel to the virgin Mary.

Prompt: アヴェロルディ家の祭壇画の文脈で、お告げと説明を説明してください。英語で出力して下さい。


subsection

アヴェロルディ家の祭壇画

The two upper panels make up an Annunciation, with the announcing angel on the left and the Virgin on the right, according to a tradition dating from the Middle Ages. Titian represented the two figures in strong light, in particular the angel, which is illuminated from behind. His figure is unrolling a cartouche with the Gospel words Ave Gratia Plena, the salutation of the archangel Gabriel to the virgin Mary.

Prompt: アヴェロルディ家の祭壇画の説明に関するお告げを説明してください。英語で出力して下さい。


subsection

アヴェロルディ家の祭壇画

The two upper panels make up an Annunciation, with the announcing angel on the left and the Virgin on the right, according to a tradition dating from the Middle Ages. Titian represented the two figures in strong light, in particular the angel, which is illuminated from behind. His figure is unrolling a cartouche with the Gospel words Ave Gratia Plena, the salutation of the archangel Gabriel to the virgin Mary.

Prompt: アヴェロルディ家の祭壇画では、どのように説明のお告げが説明されていますか？英語で出力して下さい。


subsection

アヴェロルディ家の祭壇画

The two upper panels make up an Annunciation, with the announcing angel on the left and the Virgin on the right, according to a tradition dating from the Middle Ages. Titian represented the two figures in strong light, in particular the angel, which is illuminated from behind. His figure is unrolling a cartouche with the Gospel words Ave Gratia Plena, the salutation of the archangel Gabriel to the virgin Mary.

Prompt: アヴェロルディ家の祭壇画の説明におけるお告げの特徴を説明してください。英語で出力して下さい。


section

博士たちの間のキリスト

Christ among the Doctors is an oil painting by Albrecht Dürer, dating to 1506, now in the Museo Thyssen-Bornemisza, Madrid, Spain. The work belongs to the time of Dürer's sojourn in Italy, and was according to its inscription executed incidentally in five days while he was working on the Feast of the Rosary altarpiece in Venice. The work was influenced by Leonardo da Vinci and possibly based on the most probably earlier painting by Cima da Conegliano on the same theme.

Prompt: 博士たちの間のキリストに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Albrecht Dürer
Cima da Conegliano
Feast of the Rosary
Italy
Leonardo da Vinci
Madrid
Spain
Venice


section

博士たちの間のキリスト

Christ among the Doctors is an oil painting by Albrecht Dürer, dating to 1506, now in the Museo Thyssen-Bornemisza, Madrid, Spain. The work belongs to the time of Dürer's sojourn in Italy, and was according to its inscription executed incidentally in five days while he was working on the Feast of the Rosary altarpiece in Venice. The work was influenced by Leonardo da Vinci and possibly based on the most probably earlier painting by Cima da Conegliano on the same theme.

Prompt: 博士たちの間のキリストの抽象を説明してください。英語で出力して下さい。

Albrecht Dürer
Cima da Conegliano
Feast of the Rosary
Italy
Leonardo da Vinci
Madrid
Spain
Venice


section

博士たちの間のキリスト

Christ among the Doctors is an oil painting by Albrecht Dürer, dating to 1506, now in the Museo Thyssen-Bornemisza, Madrid, Spain. The work belongs to the time of Dürer's sojourn in Italy, and was according to its inscription executed incidentally in five days while he was working on the Feast of the Rosary altarpiece in Venice. The work was influenced by Leonardo da Vinci and possibly based on the most probably earlier painting by Cima da Conegliano on the same theme.

Prompt: 博士たちの間のキリストはどのように抽象を説明していますか？英語で出力して下さい。

Albrecht Dürer
Cima da Conegliano
Feast of the Rosary
Italy
Leonardo da Vinci
Madrid
Spain
Venice


section

博士たちの間のキリスト

Christ among the Doctors is an oil painting by Albrecht Dürer, dating to 1506, now in the Museo Thyssen-Bornemisza, Madrid, Spain. The work belongs to the time of Dürer's sojourn in Italy, and was according to its inscription executed incidentally in five days while he was working on the Feast of the Rosary altarpiece in Venice. The work was influenced by Leonardo da Vinci and possibly based on the most probably earlier painting by Cima da Conegliano on the same theme.

Prompt: 博士たちの間のキリストに関して、どのように抽象が議論されていますか？英語で出力して下さい。

Albrecht Dürer
Cima da Conegliano
Feast of the Rosary
Italy
Leonardo da Vinci
Madrid
Spain
Venice


section

博士たちの間のキリスト

The topic of the panel painting is the Finding in the Temple episode from Jesus' childhood, found in the The subject had already been treated by Dürer in a panel of the Seven Sorrows Polyptych  executed by his workshop, and about ten years later in a woodcut of the Life of the Virgin series. However, in this work the German artist adopted a dense composition of half-figures, which was introduced by Andrea Mantegna in his The Presentation at the Temple  and afterwards present in all Northern Italian schools including Venice. Though Dürer emphasised the focus on faces and hands  even more.

Prompt: 博士たちの間のキリストに焦点を当てて、その概念を説明してください。英語で出力して下さい。

Andrea Mantegna
Finding in the Temple
Seven Sorrows Polyptych
Venice


section

博士たちの間のキリスト

The topic of the panel painting is the Finding in the Temple episode from Jesus' childhood, found in the The subject had already been treated by Dürer in a panel of the Seven Sorrows Polyptych  executed by his workshop, and about ten years later in a woodcut of the Life of the Virgin series. However, in this work the German artist adopted a dense composition of half-figures, which was introduced by Andrea Mantegna in his The Presentation at the Temple  and afterwards present in all Northern Italian schools including Venice. Though Dürer emphasised the focus on faces and hands  even more.

Prompt: 博士たちの間のキリストの概念を説明してください。英語で出力して下さい。

Andrea Mantegna
Finding in the Temple
Seven Sorrows Polyptych
Venice


section

博士たちの間のキリスト

The topic of the panel painting is the Finding in the Temple episode from Jesus' childhood, found in the The subject had already been treated by Dürer in a panel of the Seven Sorrows Polyptych  executed by his workshop, and about ten years later in a woodcut of the Life of the Virgin series. However, in this work the German artist adopted a dense composition of half-figures, which was introduced by Andrea Mantegna in his The Presentation at the Temple  and afterwards present in all Northern Italian schools including Venice. Though Dürer emphasised the focus on faces and hands  even more.

Prompt: 博士たちの間のキリストはどのように概念を説明していますか？英語で出力して下さい。

Andrea Mantegna
Finding in the Temple
Seven Sorrows Polyptych
Venice


section

博士たちの間のキリスト

The topic of the panel painting is the Finding in the Temple episode from Jesus' childhood, found in the The subject had already been treated by Dürer in a panel of the Seven Sorrows Polyptych  executed by his workshop, and about ten years later in a woodcut of the Life of the Virgin series. However, in this work the German artist adopted a dense composition of half-figures, which was introduced by Andrea Mantegna in his The Presentation at the Temple  and afterwards present in all Northern Italian schools including Venice. Though Dürer emphasised the focus on faces and hands  even more.

Prompt: 博士たちの間のキリストに関して、どのように概念が議論されていますか？英語で出力して下さい。

Andrea Mantegna
Finding in the Temple
Seven Sorrows Polyptych
Venice


section

博士たちの間のキリスト

The characters occupy the whole panel submerged in a dark background intensifying the tense atmosphere. Especially when compared to his former interpretations of the scene with their spacious compositions and traditional conception, the almost "nightmarish"  staging becomes evident. Here, the young Jesus is besieged by six philosophers surrounding him, arranged on at least four different planes, each with different skin texture, pose and expression, like character studies. They stand in stark contrast to the entirely soft and restraint appearance of the innocent child. Even his halo is not displayed as a golden disc, instead delicate golden lines emanate from his head in form of a faceted cross, like he was illuminated by divine light. So he stands steadfast in the central axis of the picture contemplating his arguments and counting them off on his fingers, while the doctors keep to the books in their hands ready to cite from them.Each of the doctors reacts differently to the words of Jesus. The one on the upper left is depicted with the head over his eyes literally blind to the new thoughts, stubbornly buried into the scripture. The man on the lower left with a  on his beret, a customary depiction of the Pharisees, on the contrary has closed his book and begins to pay attention trying to fathom the Child's arguments. The oldest of the philosophers seen in profile on the right next to Jesus refutes his thoughts and even gets physical with his imposing hands that interrupt the child's argumentative gesture. These two pairs of hands form a kind of ornament in the center of the picture , summarizing the panel's theme in an abstract way. Gesturing hands were a characteristic Italian motif for the representation of scholars and teachers.The head of the "wicked old scholar" shown in profile "can hardly be imagined without some knowledge" of the caricature drawings by Leonardo da Vinci. The way he displayed the discussion and the contrasting depiction of "extreme beauty and extreme ugliness" Dürer may as well have been following Leonardo's instructions in his Trattato della Pintura. In fact, the treatise was known in Venice, and probably to Dürer, too. And although Leonardo was in Milan at the time, Dürer went to Florence for a short period and probably visited Leonardo's workshop, where his apprentices were still busy, so he could have seen into his work.The display of the grotesque was seen everywhere in northern medieval culture, from the gargoyles and capitals of the great cathedrals to the tableaux vivants, the open-air mystery plays and comedic theatre with their amateur actors grimacing and distorting their bodies, that inspired artists to adopt them primarily for miniatures in illuminated texts. But they didn't appear to necessarily have a moral inclination, instead they were a lively expression of the variety of God's creation. This tradition was carried on by Dürer's contemporaries, prominently by his colleague Hieronymus Bosch or in the countless farces of Hans Sachs. And it is known through his letters, that Dürer could be vulgar himself. Bialostocki concluded: "When achieving some incidental glimpses of Leonardo's bizarre inventions, northern artists saw in them only what they wished to see: their own tradition. And this northern tradition is dominant in the physiognomical repertoire of Dürer's [Lugano] picture."Dürer himself adopted some crucial ideas of the Italian Renaissance esthetic but did not orient his work wholeheartedly towards it either. He came to understand art as a science, particularly owed to Leonardo, but his Jesus among the Doctors has no part in this, and therefore is often seen as "Gothic" still. The Child's goodness Dürer expresses through its gratefulness, but he refused the Italian concept of ideal beauty derived from the antique. He was convinced that beauty was manyfold and relative to the individual eye, only God could know absolute beauty. Instead he emphasised the moral imacculacy of the young Jesus with the immediate juxtaposition of the old and ugly. And maybe he felt confirmed by Leonardo in this matter.

Prompt: 博士たちの間のキリストに焦点を当てて、その図像を説明してください。英語で出力して下さい。

Florence
Hans Sachs
Hieronymus Bosch
Leonardo da Vinci
Milan
Pharisees
Venice


section

博士たちの間のキリスト

The characters occupy the whole panel submerged in a dark background intensifying the tense atmosphere. Especially when compared to his former interpretations of the scene with their spacious compositions and traditional conception, the almost "nightmarish"  staging becomes evident. Here, the young Jesus is besieged by six philosophers surrounding him, arranged on at least four different planes, each with different skin texture, pose and expression, like character studies. They stand in stark contrast to the entirely soft and restraint appearance of the innocent child. Even his halo is not displayed as a golden disc, instead delicate golden lines emanate from his head in form of a faceted cross, like he was illuminated by divine light. So he stands steadfast in the central axis of the picture contemplating his arguments and counting them off on his fingers, while the doctors keep to the books in their hands ready to cite from them.Each of the doctors reacts differently to the words of Jesus. The one on the upper left is depicted with the head over his eyes literally blind to the new thoughts, stubbornly buried into the scripture. The man on the lower left with a  on his beret, a customary depiction of the Pharisees, on the contrary has closed his book and begins to pay attention trying to fathom the Child's arguments. The oldest of the philosophers seen in profile on the right next to Jesus refutes his thoughts and even gets physical with his imposing hands that interrupt the child's argumentative gesture. These two pairs of hands form a kind of ornament in the center of the picture , summarizing the panel's theme in an abstract way. Gesturing hands were a characteristic Italian motif for the representation of scholars and teachers.The head of the "wicked old scholar" shown in profile "can hardly be imagined without some knowledge" of the caricature drawings by Leonardo da Vinci. The way he displayed the discussion and the contrasting depiction of "extreme beauty and extreme ugliness" Dürer may as well have been following Leonardo's instructions in his Trattato della Pintura. In fact, the treatise was known in Venice, and probably to Dürer, too. And although Leonardo was in Milan at the time, Dürer went to Florence for a short period and probably visited Leonardo's workshop, where his apprentices were still busy, so he could have seen into his work.The display of the grotesque was seen everywhere in northern medieval culture, from the gargoyles and capitals of the great cathedrals to the tableaux vivants, the open-air mystery plays and comedic theatre with their amateur actors grimacing and distorting their bodies, that inspired artists to adopt them primarily for miniatures in illuminated texts. But they didn't appear to necessarily have a moral inclination, instead they were a lively expression of the variety of God's creation. This tradition was carried on by Dürer's contemporaries, prominently by his colleague Hieronymus Bosch or in the countless farces of Hans Sachs. And it is known through his letters, that Dürer could be vulgar himself. Bialostocki concluded: "When achieving some incidental glimpses of Leonardo's bizarre inventions, northern artists saw in them only what they wished to see: their own tradition. And this northern tradition is dominant in the physiognomical repertoire of Dürer's [Lugano] picture."Dürer himself adopted some crucial ideas of the Italian Renaissance esthetic but did not orient his work wholeheartedly towards it either. He came to understand art as a science, particularly owed to Leonardo, but his Jesus among the Doctors has no part in this, and therefore is often seen as "Gothic" still. The Child's goodness Dürer expresses through its gratefulness, but he refused the Italian concept of ideal beauty derived from the antique. He was convinced that beauty was manyfold and relative to the individual eye, only God could know absolute beauty. Instead he emphasised the moral imacculacy of the young Jesus with the immediate juxtaposition of the old and ugly. And maybe he felt confirmed by Leonardo in this matter.

Prompt: 博士たちの間のキリストの図像を説明してください。英語で出力して下さい。

Florence
Hans Sachs
Hieronymus Bosch
Leonardo da Vinci
Milan
Pharisees
Venice


section

博士たちの間のキリスト

The characters occupy the whole panel submerged in a dark background intensifying the tense atmosphere. Especially when compared to his former interpretations of the scene with their spacious compositions and traditional conception, the almost "nightmarish"  staging becomes evident. Here, the young Jesus is besieged by six philosophers surrounding him, arranged on at least four different planes, each with different skin texture, pose and expression, like character studies. They stand in stark contrast to the entirely soft and restraint appearance of the innocent child. Even his halo is not displayed as a golden disc, instead delicate golden lines emanate from his head in form of a faceted cross, like he was illuminated by divine light. So he stands steadfast in the central axis of the picture contemplating his arguments and counting them off on his fingers, while the doctors keep to the books in their hands ready to cite from them.Each of the doctors reacts differently to the words of Jesus. The one on the upper left is depicted with the head over his eyes literally blind to the new thoughts, stubbornly buried into the scripture. The man on the lower left with a  on his beret, a customary depiction of the Pharisees, on the contrary has closed his book and begins to pay attention trying to fathom the Child's arguments. The oldest of the philosophers seen in profile on the right next to Jesus refutes his thoughts and even gets physical with his imposing hands that interrupt the child's argumentative gesture. These two pairs of hands form a kind of ornament in the center of the picture , summarizing the panel's theme in an abstract way. Gesturing hands were a characteristic Italian motif for the representation of scholars and teachers.The head of the "wicked old scholar" shown in profile "can hardly be imagined without some knowledge" of the caricature drawings by Leonardo da Vinci. The way he displayed the discussion and the contrasting depiction of "extreme beauty and extreme ugliness" Dürer may as well have been following Leonardo's instructions in his Trattato della Pintura. In fact, the treatise was known in Venice, and probably to Dürer, too. And although Leonardo was in Milan at the time, Dürer went to Florence for a short period and probably visited Leonardo's workshop, where his apprentices were still busy, so he could have seen into his work.The display of the grotesque was seen everywhere in northern medieval culture, from the gargoyles and capitals of the great cathedrals to the tableaux vivants, the open-air mystery plays and comedic theatre with their amateur actors grimacing and distorting their bodies, that inspired artists to adopt them primarily for miniatures in illuminated texts. But they didn't appear to necessarily have a moral inclination, instead they were a lively expression of the variety of God's creation. This tradition was carried on by Dürer's contemporaries, prominently by his colleague Hieronymus Bosch or in the countless farces of Hans Sachs. And it is known through his letters, that Dürer could be vulgar himself. Bialostocki concluded: "When achieving some incidental glimpses of Leonardo's bizarre inventions, northern artists saw in them only what they wished to see: their own tradition. And this northern tradition is dominant in the physiognomical repertoire of Dürer's [Lugano] picture."Dürer himself adopted some crucial ideas of the Italian Renaissance esthetic but did not orient his work wholeheartedly towards it either. He came to understand art as a science, particularly owed to Leonardo, but his Jesus among the Doctors has no part in this, and therefore is often seen as "Gothic" still. The Child's goodness Dürer expresses through its gratefulness, but he refused the Italian concept of ideal beauty derived from the antique. He was convinced that beauty was manyfold and relative to the individual eye, only God could know absolute beauty. Instead he emphasised the moral imacculacy of the young Jesus with the immediate juxtaposition of the old and ugly. And maybe he felt confirmed by Leonardo in this matter.

Prompt: 博士たちの間のキリストはどのように図像を説明していますか？英語で出力して下さい。

Florence
Hans Sachs
Hieronymus Bosch
Leonardo da Vinci
Milan
Pharisees
Venice


section

博士たちの間のキリスト

The characters occupy the whole panel submerged in a dark background intensifying the tense atmosphere. Especially when compared to his former interpretations of the scene with their spacious compositions and traditional conception, the almost "nightmarish"  staging becomes evident. Here, the young Jesus is besieged by six philosophers surrounding him, arranged on at least four different planes, each with different skin texture, pose and expression, like character studies. They stand in stark contrast to the entirely soft and restraint appearance of the innocent child. Even his halo is not displayed as a golden disc, instead delicate golden lines emanate from his head in form of a faceted cross, like he was illuminated by divine light. So he stands steadfast in the central axis of the picture contemplating his arguments and counting them off on his fingers, while the doctors keep to the books in their hands ready to cite from them.Each of the doctors reacts differently to the words of Jesus. The one on the upper left is depicted with the head over his eyes literally blind to the new thoughts, stubbornly buried into the scripture. The man on the lower left with a  on his beret, a customary depiction of the Pharisees, on the contrary has closed his book and begins to pay attention trying to fathom the Child's arguments. The oldest of the philosophers seen in profile on the right next to Jesus refutes his thoughts and even gets physical with his imposing hands that interrupt the child's argumentative gesture. These two pairs of hands form a kind of ornament in the center of the picture , summarizing the panel's theme in an abstract way. Gesturing hands were a characteristic Italian motif for the representation of scholars and teachers.The head of the "wicked old scholar" shown in profile "can hardly be imagined without some knowledge" of the caricature drawings by Leonardo da Vinci. The way he displayed the discussion and the contrasting depiction of "extreme beauty and extreme ugliness" Dürer may as well have been following Leonardo's instructions in his Trattato della Pintura. In fact, the treatise was known in Venice, and probably to Dürer, too. And although Leonardo was in Milan at the time, Dürer went to Florence for a short period and probably visited Leonardo's workshop, where his apprentices were still busy, so he could have seen into his work.The display of the grotesque was seen everywhere in northern medieval culture, from the gargoyles and capitals of the great cathedrals to the tableaux vivants, the open-air mystery plays and comedic theatre with their amateur actors grimacing and distorting their bodies, that inspired artists to adopt them primarily for miniatures in illuminated texts. But they didn't appear to necessarily have a moral inclination, instead they were a lively expression of the variety of God's creation. This tradition was carried on by Dürer's contemporaries, prominently by his colleague Hieronymus Bosch or in the countless farces of Hans Sachs. And it is known through his letters, that Dürer could be vulgar himself. Bialostocki concluded: "When achieving some incidental glimpses of Leonardo's bizarre inventions, northern artists saw in them only what they wished to see: their own tradition. And this northern tradition is dominant in the physiognomical repertoire of Dürer's [Lugano] picture."Dürer himself adopted some crucial ideas of the Italian Renaissance esthetic but did not orient his work wholeheartedly towards it either. He came to understand art as a science, particularly owed to Leonardo, but his Jesus among the Doctors has no part in this, and therefore is often seen as "Gothic" still. The Child's goodness Dürer expresses through its gratefulness, but he refused the Italian concept of ideal beauty derived from the antique. He was convinced that beauty was manyfold and relative to the individual eye, only God could know absolute beauty. Instead he emphasised the moral imacculacy of the young Jesus with the immediate juxtaposition of the old and ugly. And maybe he felt confirmed by Leonardo in this matter.

Prompt: 博士たちの間のキリストに関して、どのように図像が議論されていますか？英語で出力して下さい。

Florence
Hans Sachs
Hieronymus Bosch
Leonardo da Vinci
Milan
Pharisees
Venice


section

博士たちの間のキリスト

Prompt: 博士たちの間のキリストに焦点を当てて、その参照を説明してください。英語で出力して下さい。

Albrecht Dürer
List of paintings by Albrecht Dürer


section

博士たちの間のキリスト

Prompt: 博士たちの間のキリストの参照を説明してください。英語で出力して下さい。

Albrecht Dürer
List of paintings by Albrecht Dürer


section

博士たちの間のキリスト

Prompt: 博士たちの間のキリスト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。

Albrecht Dürer
List of paintings by Albrecht Dürer


section

博士たちの間のキリスト

Prompt: 博士たちの間のキリストに関して、どのように参照が議論されていますか？英語で出力して下さい。

Albrecht Dürer
List of paintings by Albrecht Dürer


section

博士たちの間のキリスト

For Head of the Infant Jesus, 3106, and Hand with Book, 3103, in the

Prompt: 博士たちの間のキリストに焦点を当てて、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

博士たちの間のキリスト

For Head of the Infant Jesus, 3106, and Hand with Book, 3103, in the

Prompt: 博士たちの間のキリスト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

博士たちの間のキリスト

For Head of the Infant Jesus, 3106, and Hand with Book, 3103, in the

Prompt: 博士たちの間のキリスト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

博士たちの間のキリスト

For Head of the Infant Jesus, 3106, and Hand with Book, 3103, in the

Prompt: 博士たちの間のキリストに関して、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

博士たちの間のキリスト

Not until his second journey to Italy Dürer made detailed studies after living models before he worked out a final composition for paintings and engravings alike. The first preparatory drawings originate in Venice, all in the same technique: dark ink drawn with a brush, highlighted with white tempera, on large sheets of Venetian blue dyed paper . The blue color serves as a middle tone, a method he formerly applied in the Green Passion of 1504, and in drawings where he washed the background around the figures to obtain the same effect. Four preparatory drawings for the painting have survived, one of the infant's head  and a hand holding a book , a study of the hands counting off arguments, and a further drawing with two pairs of hands holding a book, of which only one Dürer finally incorporated into the picture .

Prompt: 博士たちの間のキリストの文脈で、準備図と概念を説明してください。英語で出力して下さい。


subsection

博士たちの間のキリスト

Not until his second journey to Italy Dürer made detailed studies after living models before he worked out a final composition for paintings and engravings alike. The first preparatory drawings originate in Venice, all in the same technique: dark ink drawn with a brush, highlighted with white tempera, on large sheets of Venetian blue dyed paper . The blue color serves as a middle tone, a method he formerly applied in the Green Passion of 1504, and in drawings where he washed the background around the figures to obtain the same effect. Four preparatory drawings for the painting have survived, one of the infant's head  and a hand holding a book , a study of the hands counting off arguments, and a further drawing with two pairs of hands holding a book, of which only one Dürer finally incorporated into the picture .

Prompt: 博士たちの間のキリストの概念に関する準備図を説明してください。英語で出力して下さい。


subsection

博士たちの間のキリスト

Not until his second journey to Italy Dürer made detailed studies after living models before he worked out a final composition for paintings and engravings alike. The first preparatory drawings originate in Venice, all in the same technique: dark ink drawn with a brush, highlighted with white tempera, on large sheets of Venetian blue dyed paper . The blue color serves as a middle tone, a method he formerly applied in the Green Passion of 1504, and in drawings where he washed the background around the figures to obtain the same effect. Four preparatory drawings for the painting have survived, one of the infant's head  and a hand holding a book , a study of the hands counting off arguments, and a further drawing with two pairs of hands holding a book, of which only one Dürer finally incorporated into the picture .

Prompt: 博士たちの間のキリストでは、どのように概念の準備図が説明されていますか？英語で出力して下さい。


subsection

博士たちの間のキリスト

Not until his second journey to Italy Dürer made detailed studies after living models before he worked out a final composition for paintings and engravings alike. The first preparatory drawings originate in Venice, all in the same technique: dark ink drawn with a brush, highlighted with white tempera, on large sheets of Venetian blue dyed paper . The blue color serves as a middle tone, a method he formerly applied in the Green Passion of 1504, and in drawings where he washed the background around the figures to obtain the same effect. Four preparatory drawings for the painting have survived, one of the infant's head  and a hand holding a book , a study of the hands counting off arguments, and a further drawing with two pairs of hands holding a book, of which only one Dürer finally incorporated into the picture .

Prompt: 博士たちの間のキリストの概念における準備図の特徴を説明してください。英語で出力して下さい。


subsection

博士たちの間のキリスト

The panel of Jesus among the Doctors has a usual underdrawing grounded with egg-tempera, but covered by just a tenuous layer of oil paint. In fact, it is made "in an almost impromptu fashion, a thin coat of color being applied in broad and fluid strokes utterly different from Dürer's normally meticulous brushwork," as Erwin Panofsky described it. Christof Metzger, chief curator of the Graphic Collection at the Albertina in Vienna, stated that the panel wasn't even finished. Both pairs of hands in the center show still the outlines and hatches of the underdrawing and are hardly colored at all. The two heads in the background, the one in the upper right corner and the one who is looking out of the picture appear unfinished. Copies of the panel in Germany from around 1600 serve as evidence that the image was known north of the Alps, so that Dürer might have brought the painting back with him to Nuremberg.The color palette is rather narrow, essentially two green tones for the cloaks of Jesus and two of the scholars, and a range of brown tones, from the darkened faces in the shadowy back, the book covers and the red cloak of the doctor on the right, the yellowish cap of the figure on the left, to the lighter skin colors and the broken white tones of hair, paper, and the chemise poking out at the wrist on the lower left corner and at the right hand of the doctor in profile; his cap finally is the largest bright part of the composition. The color range is expressively restrained compared to his interpretation on the altar-piece of the Seven Sorrows or the splendour of the Feast of the Rosary and the rich color conception of Italian Renaissance art.

Prompt: 博士たちの間のキリストの文脈で、絵画様式と概念を説明してください。英語で出力して下さい。

Albertina
Erwin Panofsky
Feast of the Rosary


subsection

博士たちの間のキリスト

The panel of Jesus among the Doctors has a usual underdrawing grounded with egg-tempera, but covered by just a tenuous layer of oil paint. In fact, it is made "in an almost impromptu fashion, a thin coat of color being applied in broad and fluid strokes utterly different from Dürer's normally meticulous brushwork," as Erwin Panofsky described it. Christof Metzger, chief curator of the Graphic Collection at the Albertina in Vienna, stated that the panel wasn't even finished. Both pairs of hands in the center show still the outlines and hatches of the underdrawing and are hardly colored at all. The two heads in the background, the one in the upper right corner and the one who is looking out of the picture appear unfinished. Copies of the panel in Germany from around 1600 serve as evidence that the image was known north of the Alps, so that Dürer might have brought the painting back with him to Nuremberg.The color palette is rather narrow, essentially two green tones for the cloaks of Jesus and two of the scholars, and a range of brown tones, from the darkened faces in the shadowy back, the book covers and the red cloak of the doctor on the right, the yellowish cap of the figure on the left, to the lighter skin colors and the broken white tones of hair, paper, and the chemise poking out at the wrist on the lower left corner and at the right hand of the doctor in profile; his cap finally is the largest bright part of the composition. The color range is expressively restrained compared to his interpretation on the altar-piece of the Seven Sorrows or the splendour of the Feast of the Rosary and the rich color conception of Italian Renaissance art.

Prompt: 博士たちの間のキリストの概念に関する絵画様式を説明してください。英語で出力して下さい。

Albertina
Erwin Panofsky
Feast of the Rosary


subsection

博士たちの間のキリスト

The panel of Jesus among the Doctors has a usual underdrawing grounded with egg-tempera, but covered by just a tenuous layer of oil paint. In fact, it is made "in an almost impromptu fashion, a thin coat of color being applied in broad and fluid strokes utterly different from Dürer's normally meticulous brushwork," as Erwin Panofsky described it. Christof Metzger, chief curator of the Graphic Collection at the Albertina in Vienna, stated that the panel wasn't even finished. Both pairs of hands in the center show still the outlines and hatches of the underdrawing and are hardly colored at all. The two heads in the background, the one in the upper right corner and the one who is looking out of the picture appear unfinished. Copies of the panel in Germany from around 1600 serve as evidence that the image was known north of the Alps, so that Dürer might have brought the painting back with him to Nuremberg.The color palette is rather narrow, essentially two green tones for the cloaks of Jesus and two of the scholars, and a range of brown tones, from the darkened faces in the shadowy back, the book covers and the red cloak of the doctor on the right, the yellowish cap of the figure on the left, to the lighter skin colors and the broken white tones of hair, paper, and the chemise poking out at the wrist on the lower left corner and at the right hand of the doctor in profile; his cap finally is the largest bright part of the composition. The color range is expressively restrained compared to his interpretation on the altar-piece of the Seven Sorrows or the splendour of the Feast of the Rosary and the rich color conception of Italian Renaissance art.

Prompt: 博士たちの間のキリストでは、どのように概念の絵画様式が説明されていますか？英語で出力して下さい。

Albertina
Erwin Panofsky
Feast of the Rosary


subsection

博士たちの間のキリスト

The panel of Jesus among the Doctors has a usual underdrawing grounded with egg-tempera, but covered by just a tenuous layer of oil paint. In fact, it is made "in an almost impromptu fashion, a thin coat of color being applied in broad and fluid strokes utterly different from Dürer's normally meticulous brushwork," as Erwin Panofsky described it. Christof Metzger, chief curator of the Graphic Collection at the Albertina in Vienna, stated that the panel wasn't even finished. Both pairs of hands in the center show still the outlines and hatches of the underdrawing and are hardly colored at all. The two heads in the background, the one in the upper right corner and the one who is looking out of the picture appear unfinished. Copies of the panel in Germany from around 1600 serve as evidence that the image was known north of the Alps, so that Dürer might have brought the painting back with him to Nuremberg.The color palette is rather narrow, essentially two green tones for the cloaks of Jesus and two of the scholars, and a range of brown tones, from the darkened faces in the shadowy back, the book covers and the red cloak of the doctor on the right, the yellowish cap of the figure on the left, to the lighter skin colors and the broken white tones of hair, paper, and the chemise poking out at the wrist on the lower left corner and at the right hand of the doctor in profile; his cap finally is the largest bright part of the composition. The color range is expressively restrained compared to his interpretation on the altar-piece of the Seven Sorrows or the splendour of the Feast of the Rosary and the rich color conception of Italian Renaissance art.

Prompt: 博士たちの間のキリストの概念における絵画様式の特徴を説明してください。英語で出力して下さい。

Albertina
Erwin Panofsky
Feast of the Rosary


subsection

博士たちの間のキリスト

As usual Dürer signed his work with his monogram and a date, displayed on an object within the scenery, like a little plaque  or a piece of paper, a veristic device to invite the beholder into the picture space and hence into the depicted drama, instead of just signing an essentially two-dimensional composition of brush strokes on the surface of a piece of wood. The inscription in Jesus among the Doctors is written on a bookmarker that sticks out of the folio at the bottom of the picture on the left. It reads: 1506/A. D./Opus quinque dierum, "made in five days".He produced the picture in this indeed rather short time to finish an oil painting, so that it was worth the inscription, probably due to the fact, that he prominently had to work on the Feast of the Rosary, commissioned by the German community in Venice residing at the Fondaco dei Tedeschi for their church . And with the Virgin with the Siskin and several commissioned portraits there was plenty of work to be done. But the inscription cannot have taken into account the time of the conception, not the preparatory studies nor the underdrawing. The "five days" may be also an ironic allusion to the "five month" he needed to finish the Rosary altarpiece, as he wrote in its inscription.Opposing the two paintings reveals two kinds of work, done in different "modes of creation", the certainly more accomplished altarpiece was meticulously planned and executed, while the other was done swiftly following an instant inspiration, like a stroke of a genius. Dürer much later expressed this "unheard of" idea, as he wrote in a "strange speech"  even for him, that some artist may sketch something in one day, that another won't achieve in a year, thus establishing a new "purely artistic" evaluation of an artwork, instead of the material needed and the amount of time spent. Unlike Alberti, whose writings he studied, Dürer became aware the "fundamental difference between the aesthetic value of the object represented in a work of art, and the aesthetic value of the work of art itself" , in which something ugly could be depicted beautifully by an able hand. "And this gift is miraculous" , Dürer said. He was well aware of his exceptional talent already at an early age and it is surely the main motivation behind his trademark monogram, besides his copyright concerns related to his printed work. However he even signed his preparatory drawings with it, which would have otherwise been unnecessary.

Prompt: 博士たちの間のキリストの文脈で、5日間で作られたと概念を説明してください。英語で出力して下さい。

Feast of the Rosary
Fondaco dei Tedeschi
Venice


subsection

博士たちの間のキリスト

As usual Dürer signed his work with his monogram and a date, displayed on an object within the scenery, like a little plaque  or a piece of paper, a veristic device to invite the beholder into the picture space and hence into the depicted drama, instead of just signing an essentially two-dimensional composition of brush strokes on the surface of a piece of wood. The inscription in Jesus among the Doctors is written on a bookmarker that sticks out of the folio at the bottom of the picture on the left. It reads: 1506/A. D./Opus quinque dierum, "made in five days".He produced the picture in this indeed rather short time to finish an oil painting, so that it was worth the inscription, probably due to the fact, that he prominently had to work on the Feast of the Rosary, commissioned by the German community in Venice residing at the Fondaco dei Tedeschi for their church . And with the Virgin with the Siskin and several commissioned portraits there was plenty of work to be done. But the inscription cannot have taken into account the time of the conception, not the preparatory studies nor the underdrawing. The "five days" may be also an ironic allusion to the "five month" he needed to finish the Rosary altarpiece, as he wrote in its inscription.Opposing the two paintings reveals two kinds of work, done in different "modes of creation", the certainly more accomplished altarpiece was meticulously planned and executed, while the other was done swiftly following an instant inspiration, like a stroke of a genius. Dürer much later expressed this "unheard of" idea, as he wrote in a "strange speech"  even for him, that some artist may sketch something in one day, that another won't achieve in a year, thus establishing a new "purely artistic" evaluation of an artwork, instead of the material needed and the amount of time spent. Unlike Alberti, whose writings he studied, Dürer became aware the "fundamental difference between the aesthetic value of the object represented in a work of art, and the aesthetic value of the work of art itself" , in which something ugly could be depicted beautifully by an able hand. "And this gift is miraculous" , Dürer said. He was well aware of his exceptional talent already at an early age and it is surely the main motivation behind his trademark monogram, besides his copyright concerns related to his printed work. However he even signed his preparatory drawings with it, which would have otherwise been unnecessary.

Prompt: 博士たちの間のキリストの概念に関する5日間で作られたを説明してください。英語で出力して下さい。

Feast of the Rosary
Fondaco dei Tedeschi
Venice