subsection

アレクサンドリアでの聖マルコの説教

Giovanni Bellini  was born in Venice and was born into an important art family. As he worked in his father's workshop, he demonstrated potential by concentrating on small and medium-size reverential boards for private proprietorship. Bellini first connected and worked with his brother Gentile up until the point of his death. After 1479, he routinely worked for the doge's royal residence, where he was charged to paint scenes of Venetian history. After his older brother Gentile's demise in 1507, he finished St. Mark Preaching in Alexandria, which Giovanni had started painting.

Prompt: アレクサンドリアでの聖マルコの説教の主語に関するジョヴァンニ・ベッリーニを説明してください。英語で出力して下さい。


subsection

アレクサンドリアでの聖マルコの説教

Giovanni Bellini  was born in Venice and was born into an important art family. As he worked in his father's workshop, he demonstrated potential by concentrating on small and medium-size reverential boards for private proprietorship. Bellini first connected and worked with his brother Gentile up until the point of his death. After 1479, he routinely worked for the doge's royal residence, where he was charged to paint scenes of Venetian history. After his older brother Gentile's demise in 1507, he finished St. Mark Preaching in Alexandria, which Giovanni had started painting.

Prompt: アレクサンドリアでの聖マルコの説教では、どのように主語のジョヴァンニ・ベッリーニが説明されていますか？英語で出力して下さい。


subsection

アレクサンドリアでの聖マルコの説教

Giovanni Bellini  was born in Venice and was born into an important art family. As he worked in his father's workshop, he demonstrated potential by concentrating on small and medium-size reverential boards for private proprietorship. Bellini first connected and worked with his brother Gentile up until the point of his death. After 1479, he routinely worked for the doge's royal residence, where he was charged to paint scenes of Venetian history. After his older brother Gentile's demise in 1507, he finished St. Mark Preaching in Alexandria, which Giovanni had started painting.

Prompt: アレクサンドリアでの聖マルコの説教の主語におけるジョヴァンニ・ベッリーニの特徴を説明してください。英語で出力して下さい。


section

女の戦い (リベーラ)

Women Gladiators  is a painting by Jusepe de Ribera made in oil on canvas. It is conserved in the Museo del Prado, Madrid.

Prompt: 女の戦い (リベーラ)に焦点を当てて、その抽象を説明してください。英語で出力して下さい。


section

女の戦い (リベーラ)

Women Gladiators  is a painting by Jusepe de Ribera made in oil on canvas. It is conserved in the Museo del Prado, Madrid.

Prompt: 女の戦い (リベーラ)の抽象を説明してください。英語で出力して下さい。


section

女の戦い (リベーラ)

Women Gladiators  is a painting by Jusepe de Ribera made in oil on canvas. It is conserved in the Museo del Prado, Madrid.

Prompt: 女の戦い (リベーラ)はどのように抽象を説明していますか？英語で出力して下さい。


section

女の戦い (リベーラ)

Women Gladiators  is a painting by Jusepe de Ribera made in oil on canvas. It is conserved in the Museo del Prado, Madrid.

Prompt: 女の戦い (リベーラ)に関して、どのように抽象が議論されていますか？英語で出力して下さい。


section

女の戦い (リベーラ)

The painting, dated and signed, was made in Naples in 1636, as part of a series of over thirty pictures on the history of Rome commissioned to Giovanni nfranco, Domenichino, Ribera himself, and other artists.

Prompt: 女の戦い (リベーラ)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

女の戦い (リベーラ)

The painting, dated and signed, was made in Naples in 1636, as part of a series of over thirty pictures on the history of Rome commissioned to Giovanni nfranco, Domenichino, Ribera himself, and other artists.

Prompt: 女の戦い (リベーラ)の説明を説明してください。英語で出力して下さい。


section

女の戦い (リベーラ)

The painting, dated and signed, was made in Naples in 1636, as part of a series of over thirty pictures on the history of Rome commissioned to Giovanni nfranco, Domenichino, Ribera himself, and other artists.

Prompt: 女の戦い (リベーラ)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

女の戦い (リベーラ)

The painting, dated and signed, was made in Naples in 1636, as part of a series of over thirty pictures on the history of Rome commissioned to Giovanni nfranco, Domenichino, Ribera himself, and other artists.

Prompt: 女の戦い (リベーラ)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

女の戦い (リベーラ)

The painting depicts a legendary episode occurred at Naples in 1552. Two women, Isabella of Carazzi and Diambra of Pottinella, in the presence of the Marquis of the Vast dispute in a duel for the love of a man called Fabio Zeresola. The subject matter of the painting has also been held to be an allegory of the fight between Vice and Virtue.

Prompt: 女の戦い (リベーラ)に焦点を当てて、その分析を説明してください。英語で出力して下さい。


section

女の戦い (リベーラ)

The painting depicts a legendary episode occurred at Naples in 1552. Two women, Isabella of Carazzi and Diambra of Pottinella, in the presence of the Marquis of the Vast dispute in a duel for the love of a man called Fabio Zeresola. The subject matter of the painting has also been held to be an allegory of the fight between Vice and Virtue.

Prompt: 女の戦い (リベーラ)の分析を説明してください。英語で出力して下さい。


section

女の戦い (リベーラ)

The painting depicts a legendary episode occurred at Naples in 1552. Two women, Isabella of Carazzi and Diambra of Pottinella, in the presence of the Marquis of the Vast dispute in a duel for the love of a man called Fabio Zeresola. The subject matter of the painting has also been held to be an allegory of the fight between Vice and Virtue.

Prompt: 女の戦い (リベーラ)はどのように分析を説明していますか？英語で出力して下さい。


section

女の戦い (リベーラ)

The painting depicts a legendary episode occurred at Naples in 1552. Two women, Isabella of Carazzi and Diambra of Pottinella, in the presence of the Marquis of the Vast dispute in a duel for the love of a man called Fabio Zeresola. The subject matter of the painting has also been held to be an allegory of the fight between Vice and Virtue.

Prompt: 女の戦い (リベーラ)に関して、どのように分析が議論されていますか？英語で出力して下さい。


section

愛

completion_date =     material =  subject =  height_metric =       width_metric =  length_metric =  diameter_metric =  height_imperial =     width_imperial =  length_imperial =  diameter_imperial =  dimensions =  dimensions_ref =  metric_unit = cm      imperial_unit = in    condition =  city = Seattle, Washington museum = Olympic Sculpture Park  accession =  coordinates =  mapframe           = yes mapframe-zoom      = 13 owner =  preceded_by =         followed_by =         website =            }}Love & Loss is an outdoor 2005 mixed-media installation by Roy McMakin, installed at Olympic Sculpture Park in Seattle, Washington.

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

Olympic Sculpture Park
Roy McMakin
Seattle


section

愛

completion_date =     material =  subject =  height_metric =       width_metric =  length_metric =  diameter_metric =  height_imperial =     width_imperial =  length_imperial =  diameter_imperial =  dimensions =  dimensions_ref =  metric_unit = cm      imperial_unit = in    condition =  city = Seattle, Washington museum = Olympic Sculpture Park  accession =  coordinates =  mapframe           = yes mapframe-zoom      = 13 owner =  preceded_by =         followed_by =         website =            }}Love & Loss is an outdoor 2005 mixed-media installation by Roy McMakin, installed at Olympic Sculpture Park in Seattle, Washington.

Prompt: 愛の抽象を説明してください。英語で出力して下さい。

Olympic Sculpture Park
Roy McMakin
Seattle


section

愛

completion_date =     material =  subject =  height_metric =       width_metric =  length_metric =  diameter_metric =  height_imperial =     width_imperial =  length_imperial =  diameter_imperial =  dimensions =  dimensions_ref =  metric_unit = cm      imperial_unit = in    condition =  city = Seattle, Washington museum = Olympic Sculpture Park  accession =  coordinates =  mapframe           = yes mapframe-zoom      = 13 owner =  preceded_by =         followed_by =         website =            }}Love & Loss is an outdoor 2005 mixed-media installation by Roy McMakin, installed at Olympic Sculpture Park in Seattle, Washington.

Prompt: 愛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。

Olympic Sculpture Park
Roy McMakin
Seattle


section

愛

completion_date =     material =  subject =  height_metric =       width_metric =  length_metric =  diameter_metric =  height_imperial =     width_imperial =  length_imperial =  diameter_imperial =  dimensions =  dimensions_ref =  metric_unit = cm      imperial_unit = in    condition =  city = Seattle, Washington museum = Olympic Sculpture Park  accession =  coordinates =  mapframe           = yes mapframe-zoom      = 13 owner =  preceded_by =         followed_by =         website =            }}Love & Loss is an outdoor 2005 mixed-media installation by Roy McMakin, installed at Olympic Sculpture Park in Seattle, Washington.

Prompt: 愛に関して、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。

Olympic Sculpture Park
Roy McMakin
Seattle


section

愛

The Seattle Times and the Seattle Post-Intelligencer said the work is multifaceted and interactive, respectively. According to The Stranger, "The piece consists of cast concrete benches, a sidewalk-like pathway, a small, circular reflecting pool, and a double-trunked crabapple tree that spell out the words 'love' and 'loss.' Jutting up from the middle is a red neon ampersand." The ampersand revolves.Brangien Davis of Crosscut.com described the artwork as a "sculpture slash word puzzle".

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

Crosscut.com
Seattle
Seattle Post-Intelligencer
The Seattle Times


section

愛

The Seattle Times and the Seattle Post-Intelligencer said the work is multifaceted and interactive, respectively. According to The Stranger, "The piece consists of cast concrete benches, a sidewalk-like pathway, a small, circular reflecting pool, and a double-trunked crabapple tree that spell out the words 'love' and 'loss.' Jutting up from the middle is a red neon ampersand." The ampersand revolves.Brangien Davis of Crosscut.com described the artwork as a "sculpture slash word puzzle".

Prompt: 愛の説明を説明してください。英語で出力して下さい。

Crosscut.com
Seattle
Seattle Post-Intelligencer
The Seattle Times


section

愛

The Seattle Times and the Seattle Post-Intelligencer said the work is multifaceted and interactive, respectively. According to The Stranger, "The piece consists of cast concrete benches, a sidewalk-like pathway, a small, circular reflecting pool, and a double-trunked crabapple tree that spell out the words 'love' and 'loss.' Jutting up from the middle is a red neon ampersand." The ampersand revolves.Brangien Davis of Crosscut.com described the artwork as a "sculpture slash word puzzle".

Prompt: 愛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。

Crosscut.com
Seattle
Seattle Post-Intelligencer
The Seattle Times


section

愛

The Seattle Times and the Seattle Post-Intelligencer said the work is multifaceted and interactive, respectively. According to The Stranger, "The piece consists of cast concrete benches, a sidewalk-like pathway, a small, circular reflecting pool, and a double-trunked crabapple tree that spell out the words 'love' and 'loss.' Jutting up from the middle is a red neon ampersand." The ampersand revolves.Brangien Davis of Crosscut.com described the artwork as a "sculpture slash word puzzle".

Prompt: 愛に関して、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。

Crosscut.com
Seattle
Seattle Post-Intelligencer
The Seattle Times


section

愛

Prompt: 愛に焦点を当てて、その受付を説明してください。英語で出力して下さい。


section

愛

Prompt: 愛の受付を説明してください。英語で出力して下さい。


section

愛

Prompt: 愛はどのように受付を説明していますか？英語で出力して下さい。


section

愛

Prompt: 愛に関して、どのように受付が議論されていますか？英語で出力して下さい。


section

ガートルード・スタイン

Portrait of Gertrude Stein  is an oil-on-canvas painting of the American writer and art collector Gertrude Stein by Pablo Picasso, which was begun in 1905 and finished the following year. The painting is housed in the Metropolitan Museum of Art in New York. It is considered one of the important works of Picasso's Rose Period. The portrait has historical significance, due to the subject's role in Picasso's early life as a struggling artist and eventual commercial success. It also represents a significant transitional step in the artist's move towards Cubism.

Prompt: ガートルード・スタインに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Cubism
Gertrude Stein
Metropolitan Museum of Art
Pablo Picasso
Picasso's Rose Period


section

ガートルード・スタイン

Portrait of Gertrude Stein  is an oil-on-canvas painting of the American writer and art collector Gertrude Stein by Pablo Picasso, which was begun in 1905 and finished the following year. The painting is housed in the Metropolitan Museum of Art in New York. It is considered one of the important works of Picasso's Rose Period. The portrait has historical significance, due to the subject's role in Picasso's early life as a struggling artist and eventual commercial success. It also represents a significant transitional step in the artist's move towards Cubism.

Prompt: ガートルード・スタインの抽象を説明してください。英語で出力して下さい。

Cubism
Gertrude Stein
Metropolitan Museum of Art
Pablo Picasso
Picasso's Rose Period


section

ガートルード・スタイン

Portrait of Gertrude Stein  is an oil-on-canvas painting of the American writer and art collector Gertrude Stein by Pablo Picasso, which was begun in 1905 and finished the following year. The painting is housed in the Metropolitan Museum of Art in New York. It is considered one of the important works of Picasso's Rose Period. The portrait has historical significance, due to the subject's role in Picasso's early life as a struggling artist and eventual commercial success. It also represents a significant transitional step in the artist's move towards Cubism.

Prompt: ガートルード・スタイン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。

Cubism
Gertrude Stein
Metropolitan Museum of Art
Pablo Picasso
Picasso's Rose Period


section

ガートルード・スタイン

Portrait of Gertrude Stein  is an oil-on-canvas painting of the American writer and art collector Gertrude Stein by Pablo Picasso, which was begun in 1905 and finished the following year. The painting is housed in the Metropolitan Museum of Art in New York. It is considered one of the important works of Picasso's Rose Period. The portrait has historical significance, due to the subject's role in Picasso's early life as a struggling artist and eventual commercial success. It also represents a significant transitional step in the artist's move towards Cubism.

Prompt: ガートルード・スタインに関して、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。

Cubism
Gertrude Stein
Metropolitan Museum of Art
Pablo Picasso
Picasso's Rose Period


section

ガートルード・スタイン

After putting aside the pessimistic themes of his Blue Period, Picasso had begun a new, more optimistic phase in early 1905, which is now known as his Rose Period. The previous year, Picasso had arrived in Paris from Barcelona to settle there. During this time, Picasso was living in poverty in a dilapidated artist building at 13 rue Ravignan, known as Le Bateau-voir. Gertrude and her brother Leo Stein were art collectors and became friends with Picasso later in 1905. The siblings acquired three Rose Period artworks from the artist at a point in his life when Picasso was still a struggling artist, thus playing an important role in his financial circumstances and eventual commercial success. By the end of 1906, Picasso's works were being bought by the art dealer Ambroise Vollard.Gertrude Stein was an influential collector of modern art. She held weekly “salons” in Paris, which became legendary and were a gathering place for writers, painters, critics, and poets. Gertrude Stein was also a radical and influential writer. Her portrait remained with her in France and she held on to it through both World Wars, until her death.Portrait of Gertrude Stein was bequeathed to the Museum of Modern Art when she died on 27 July 1946. The portrait was returned to the Metropolitan Museum of Art for permanent exhibition.

Prompt: ガートルード・スタインに焦点を当てて、その背景を説明してください。英語で出力して下さい。

Ambroise Vollard
Gertrude Stein
Leo Stein
Metropolitan Museum of Art
Museum of Modern Art


section

ガートルード・スタイン

After putting aside the pessimistic themes of his Blue Period, Picasso had begun a new, more optimistic phase in early 1905, which is now known as his Rose Period. The previous year, Picasso had arrived in Paris from Barcelona to settle there. During this time, Picasso was living in poverty in a dilapidated artist building at 13 rue Ravignan, known as Le Bateau-voir. Gertrude and her brother Leo Stein were art collectors and became friends with Picasso later in 1905. The siblings acquired three Rose Period artworks from the artist at a point in his life when Picasso was still a struggling artist, thus playing an important role in his financial circumstances and eventual commercial success. By the end of 1906, Picasso's works were being bought by the art dealer Ambroise Vollard.Gertrude Stein was an influential collector of modern art. She held weekly “salons” in Paris, which became legendary and were a gathering place for writers, painters, critics, and poets. Gertrude Stein was also a radical and influential writer. Her portrait remained with her in France and she held on to it through both World Wars, until her death.Portrait of Gertrude Stein was bequeathed to the Museum of Modern Art when she died on 27 July 1946. The portrait was returned to the Metropolitan Museum of Art for permanent exhibition.

Prompt: ガートルード・スタインの背景を説明してください。英語で出力して下さい。

Ambroise Vollard
Gertrude Stein
Leo Stein
Metropolitan Museum of Art
Museum of Modern Art


section

ガートルード・スタイン

After putting aside the pessimistic themes of his Blue Period, Picasso had begun a new, more optimistic phase in early 1905, which is now known as his Rose Period. The previous year, Picasso had arrived in Paris from Barcelona to settle there. During this time, Picasso was living in poverty in a dilapidated artist building at 13 rue Ravignan, known as Le Bateau-voir. Gertrude and her brother Leo Stein were art collectors and became friends with Picasso later in 1905. The siblings acquired three Rose Period artworks from the artist at a point in his life when Picasso was still a struggling artist, thus playing an important role in his financial circumstances and eventual commercial success. By the end of 1906, Picasso's works were being bought by the art dealer Ambroise Vollard.Gertrude Stein was an influential collector of modern art. She held weekly “salons” in Paris, which became legendary and were a gathering place for writers, painters, critics, and poets. Gertrude Stein was also a radical and influential writer. Her portrait remained with her in France and she held on to it through both World Wars, until her death.Portrait of Gertrude Stein was bequeathed to the Museum of Modern Art when she died on 27 July 1946. The portrait was returned to the Metropolitan Museum of Art for permanent exhibition.

Prompt: ガートルード・スタインはどのように背景を説明していますか？英語で出力して下さい。

Ambroise Vollard
Gertrude Stein
Leo Stein
Metropolitan Museum of Art
Museum of Modern Art


section

ガートルード・スタイン

After putting aside the pessimistic themes of his Blue Period, Picasso had begun a new, more optimistic phase in early 1905, which is now known as his Rose Period. The previous year, Picasso had arrived in Paris from Barcelona to settle there. During this time, Picasso was living in poverty in a dilapidated artist building at 13 rue Ravignan, known as Le Bateau-voir. Gertrude and her brother Leo Stein were art collectors and became friends with Picasso later in 1905. The siblings acquired three Rose Period artworks from the artist at a point in his life when Picasso was still a struggling artist, thus playing an important role in his financial circumstances and eventual commercial success. By the end of 1906, Picasso's works were being bought by the art dealer Ambroise Vollard.Gertrude Stein was an influential collector of modern art. She held weekly “salons” in Paris, which became legendary and were a gathering place for writers, painters, critics, and poets. Gertrude Stein was also a radical and influential writer. Her portrait remained with her in France and she held on to it through both World Wars, until her death.Portrait of Gertrude Stein was bequeathed to the Museum of Modern Art when she died on 27 July 1946. The portrait was returned to the Metropolitan Museum of Art for permanent exhibition.

Prompt: ガートルード・スタインに関して、どのように背景が議論されていますか？英語で出力して下さい。

Ambroise Vollard
Gertrude Stein
Leo Stein
Metropolitan Museum of Art
Museum of Modern Art


section

ガートルード・スタイン

Shortly after meeting Stein in 1905, Picasso began to paint her portrait. According to Stein, the process took "eighty or ninety sittings". She recalled how during one session, when the sittings were nearly coming to an end in the winter, Picasso suddenly painted out the head and irritably said, "I can't see you any longer when I look." The portrait was left in this condition until the following autumn, when Stein returned to Paris. After returning from a trip to Spain, Picasso completed the head without even seeing Stein again. When the portrait was complete, both were content with the finished work. Stein said of the portrait, "I was and I still am satisfied with my portrait, for me, it is I, and it is the only reproduction of me which is always I, for me."Picasso's painting challenged the traditional ideas of portraiture, by depicting the subject as a large, hulking figure who stares blankly across the image, rather than towards the viewer. Her body is a round mass, as she leans forward and leans her arms weightily on her knees. In contrast to the work of Henri Matisse, Picasso uses dark, subdued hues of brown and red, rather than bright colours to portray his subject. Stein's physical details are not depicted realistically – her face has a mask-like appearance, with geometric features. This angular distortion is characteristic of his later Cubist works and is a notable contrast to the rounded, flat rendering of the rest of her body. The portrait's primitive style is inspired perhaps by Picasso's interest in African and Iberian art. The purpose of this was to convey Stein as she really was, and not simply to portray her physical appearance.Alfred H. Barr Jr., Director of the Museum of Modern Art, commented on the significance of the repainting of the head in Stein's portrait.

Prompt: ガートルード・スタインに焦点を当てて、その説明を説明してください。英語で出力して下さい。

Alfred H. Barr Jr.
Henri Matisse
Museum of Modern Art


section

ガートルード・スタイン

Shortly after meeting Stein in 1905, Picasso began to paint her portrait. According to Stein, the process took "eighty or ninety sittings". She recalled how during one session, when the sittings were nearly coming to an end in the winter, Picasso suddenly painted out the head and irritably said, "I can't see you any longer when I look." The portrait was left in this condition until the following autumn, when Stein returned to Paris. After returning from a trip to Spain, Picasso completed the head without even seeing Stein again. When the portrait was complete, both were content with the finished work. Stein said of the portrait, "I was and I still am satisfied with my portrait, for me, it is I, and it is the only reproduction of me which is always I, for me."Picasso's painting challenged the traditional ideas of portraiture, by depicting the subject as a large, hulking figure who stares blankly across the image, rather than towards the viewer. Her body is a round mass, as she leans forward and leans her arms weightily on her knees. In contrast to the work of Henri Matisse, Picasso uses dark, subdued hues of brown and red, rather than bright colours to portray his subject. Stein's physical details are not depicted realistically – her face has a mask-like appearance, with geometric features. This angular distortion is characteristic of his later Cubist works and is a notable contrast to the rounded, flat rendering of the rest of her body. The portrait's primitive style is inspired perhaps by Picasso's interest in African and Iberian art. The purpose of this was to convey Stein as she really was, and not simply to portray her physical appearance.Alfred H. Barr Jr., Director of the Museum of Modern Art, commented on the significance of the repainting of the head in Stein's portrait.

Prompt: ガートルード・スタインの説明を説明してください。英語で出力して下さい。

Alfred H. Barr Jr.
Henri Matisse
Museum of Modern Art


section

ガートルード・スタイン

Shortly after meeting Stein in 1905, Picasso began to paint her portrait. According to Stein, the process took "eighty or ninety sittings". She recalled how during one session, when the sittings were nearly coming to an end in the winter, Picasso suddenly painted out the head and irritably said, "I can't see you any longer when I look." The portrait was left in this condition until the following autumn, when Stein returned to Paris. After returning from a trip to Spain, Picasso completed the head without even seeing Stein again. When the portrait was complete, both were content with the finished work. Stein said of the portrait, "I was and I still am satisfied with my portrait, for me, it is I, and it is the only reproduction of me which is always I, for me."Picasso's painting challenged the traditional ideas of portraiture, by depicting the subject as a large, hulking figure who stares blankly across the image, rather than towards the viewer. Her body is a round mass, as she leans forward and leans her arms weightily on her knees. In contrast to the work of Henri Matisse, Picasso uses dark, subdued hues of brown and red, rather than bright colours to portray his subject. Stein's physical details are not depicted realistically – her face has a mask-like appearance, with geometric features. This angular distortion is characteristic of his later Cubist works and is a notable contrast to the rounded, flat rendering of the rest of her body. The portrait's primitive style is inspired perhaps by Picasso's interest in African and Iberian art. The purpose of this was to convey Stein as she really was, and not simply to portray her physical appearance.Alfred H. Barr Jr., Director of the Museum of Modern Art, commented on the significance of the repainting of the head in Stein's portrait.

Prompt: ガートルード・スタイン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。

Alfred H. Barr Jr.
Henri Matisse
Museum of Modern Art


section

ガートルード・スタイン

Shortly after meeting Stein in 1905, Picasso began to paint her portrait. According to Stein, the process took "eighty or ninety sittings". She recalled how during one session, when the sittings were nearly coming to an end in the winter, Picasso suddenly painted out the head and irritably said, "I can't see you any longer when I look." The portrait was left in this condition until the following autumn, when Stein returned to Paris. After returning from a trip to Spain, Picasso completed the head without even seeing Stein again. When the portrait was complete, both were content with the finished work. Stein said of the portrait, "I was and I still am satisfied with my portrait, for me, it is I, and it is the only reproduction of me which is always I, for me."Picasso's painting challenged the traditional ideas of portraiture, by depicting the subject as a large, hulking figure who stares blankly across the image, rather than towards the viewer. Her body is a round mass, as she leans forward and leans her arms weightily on her knees. In contrast to the work of Henri Matisse, Picasso uses dark, subdued hues of brown and red, rather than bright colours to portray his subject. Stein's physical details are not depicted realistically – her face has a mask-like appearance, with geometric features. This angular distortion is characteristic of his later Cubist works and is a notable contrast to the rounded, flat rendering of the rest of her body. The portrait's primitive style is inspired perhaps by Picasso's interest in African and Iberian art. The purpose of this was to convey Stein as she really was, and not simply to portray her physical appearance.Alfred H. Barr Jr., Director of the Museum of Modern Art, commented on the significance of the repainting of the head in Stein's portrait.

Prompt: ガートルード・スタインに関して、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。

Alfred H. Barr Jr.
Henri Matisse
Museum of Modern Art


section

ガートルード・スタイン

On the portrait's importance, Alfred H. Barr Jr. remarked that, "Aside from its value as a landmark in modern art, Picasso's painting stands as a powerful characterization of one of the most remarkable and influential American writers of her generation."

Prompt: ガートルード・スタインに焦点を当てて、その意義と遺産を説明してください。英語で出力して下さい。


section

ガートルード・スタイン

On the portrait's importance, Alfred H. Barr Jr. remarked that, "Aside from its value as a landmark in modern art, Picasso's painting stands as a powerful characterization of one of the most remarkable and influential American writers of her generation."

Prompt: ガートルード・スタインの意義と遺産を説明してください。英語で出力して下さい。


section

ガートルード・スタイン

On the portrait's importance, Alfred H. Barr Jr. remarked that, "Aside from its value as a landmark in modern art, Picasso's painting stands as a powerful characterization of one of the most remarkable and influential American writers of her generation."

Prompt: ガートルード・スタインはどのように意義と遺産を説明していますか？英語で出力して下さい。


section

ガートルード・スタイン

On the portrait's importance, Alfred H. Barr Jr. remarked that, "Aside from its value as a landmark in modern art, Picasso's painting stands as a powerful characterization of one of the most remarkable and influential American writers of her generation."

Prompt: ガートルード・スタインに関して、どのように意義と遺産が議論されていますか？英語で出力して下さい。


section

ガートルード・スタイン

Picasso's Rose Period Picasso's Blue Period List of Picasso artworks 1901–1910 Portrait painting CubismYoung Girl with a Flower BasketFamille d'acrobates avec singeGarçon à la pipe

Prompt: ガートルード・スタインに焦点を当てて、その参照を説明してください。英語で出力して下さい。

Cubism
Famille d'acrobates avec singe
Garçon à la pipe
List of Picasso artworks 1901–1910
Picasso's Blue Period
Picasso's Rose Period
Portrait painting
Young Girl with a Flower Basket


section

ガートルード・スタイン

Picasso's Rose Period Picasso's Blue Period List of Picasso artworks 1901–1910 Portrait painting CubismYoung Girl with a Flower BasketFamille d'acrobates avec singeGarçon à la pipe

Prompt: ガートルード・スタインの参照を説明してください。英語で出力して下さい。

Cubism
Famille d'acrobates avec singe
Garçon à la pipe
List of Picasso artworks 1901–1910
Picasso's Blue Period
Picasso's Rose Period
Portrait painting
Young Girl with a Flower Basket


section

ガートルード・スタイン

Picasso's Rose Period Picasso's Blue Period List of Picasso artworks 1901–1910 Portrait painting CubismYoung Girl with a Flower BasketFamille d'acrobates avec singeGarçon à la pipe

Prompt: ガートルード・スタイン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。

Cubism
Famille d'acrobates avec singe
Garçon à la pipe
List of Picasso artworks 1901–1910
Picasso's Blue Period
Picasso's Rose Period
Portrait painting
Young Girl with a Flower Basket


section

ガートルード・スタイン

Picasso's Rose Period Picasso's Blue Period List of Picasso artworks 1901–1910 Portrait painting CubismYoung Girl with a Flower BasketFamille d'acrobates avec singeGarçon à la pipe

Prompt: ガートルード・スタインに関して、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。

Cubism
Famille d'acrobates avec singe
Garçon à la pipe
List of Picasso artworks 1901–1910
Picasso's Blue Period
Picasso's Rose Period
Portrait painting
Young Girl with a Flower Basket


section

エルサレムの滅亡を嘆くエレミヤ

Jeremiah Lamenting the Destruction of Jerusalem

Jeremiah menting the Destruction of Jerusalem is a 1630 painting by Rembrandt. It is one of the most renowned works of his Leiden period.

Prompt: エルサレムの滅亡を嘆くエレミヤに焦点を当てて、その抽象を説明してください。英語で出力して下さい。


section

エルサレムの滅亡を嘆くエレミヤ

Jeremiah Lamenting the Destruction of Jerusalem

Jeremiah menting the Destruction of Jerusalem is a 1630 painting by Rembrandt. It is one of the most renowned works of his Leiden period.

Prompt: エルサレムの滅亡を嘆くエレミヤの抽象を説明してください。英語で出力して下さい。


section

エルサレムの滅亡を嘆くエレミヤ

Jeremiah Lamenting the Destruction of Jerusalem

Jeremiah menting the Destruction of Jerusalem is a 1630 painting by Rembrandt. It is one of the most renowned works of his Leiden period.

Prompt: エルサレムの滅亡を嘆くエレミヤ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

エルサレムの滅亡を嘆くエレミヤ

Jeremiah Lamenting the Destruction of Jerusalem

Jeremiah menting the Destruction of Jerusalem is a 1630 painting by Rembrandt. It is one of the most renowned works of his Leiden period.

Prompt: エルサレムの滅亡を嘆くエレミヤに関して、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

エルサレムの滅亡を嘆くエレミヤ

Jeremiah Lamenting the Destruction of Jerusalem

Many art critics have praised Jeremiah menting the Destruction of Jerusalem as one of Rembrandt's few early masterpieces.

Prompt: エルサレムの滅亡を嘆くエレミヤに焦点を当てて、その受付を説明してください。英語で出力して下さい。


section

エルサレムの滅亡を嘆くエレミヤ

Jeremiah Lamenting the Destruction of Jerusalem

Many art critics have praised Jeremiah menting the Destruction of Jerusalem as one of Rembrandt's few early masterpieces.

Prompt: エルサレムの滅亡を嘆くエレミヤの受付を説明してください。英語で出力して下さい。


section

エルサレムの滅亡を嘆くエレミヤ

Jeremiah Lamenting the Destruction of Jerusalem

Many art critics have praised Jeremiah menting the Destruction of Jerusalem as one of Rembrandt's few early masterpieces.

Prompt: エルサレムの滅亡を嘆くエレミヤはどのように受付を説明していますか？英語で出力して下さい。


section

エルサレムの滅亡を嘆くエレミヤ

Jeremiah Lamenting the Destruction of Jerusalem

Many art critics have praised Jeremiah menting the Destruction of Jerusalem as one of Rembrandt's few early masterpieces.

Prompt: エルサレムの滅亡を嘆くエレミヤに関して、どのように受付が議論されていますか？英語で出力して下さい。


section

キューピッドの教育

--> owner              =  accession          =  preceded_by        =   followed_by        =   module             =  website            =  }}Venus with Mercury and Cupid, The School of Love or The Education of Cupid is a c. 1525 painting by the Italian painter Correggio, now in the National Gallery. It depicts the deities Cupid, Mercury, and Venus.

Prompt: キューピッドの教育に焦点を当てて、その抽象を説明してください。英語で出力して下さい。


section

キューピッドの教育

--> owner              =  accession          =  preceded_by        =   followed_by        =   module             =  website            =  }}Venus with Mercury and Cupid, The School of Love or The Education of Cupid is a c. 1525 painting by the Italian painter Correggio, now in the National Gallery. It depicts the deities Cupid, Mercury, and Venus.

Prompt: キューピッドの教育の抽象を説明してください。英語で出力して下さい。


section

キューピッドの教育

--> owner              =  accession          =  preceded_by        =   followed_by        =   module             =  website            =  }}Venus with Mercury and Cupid, The School of Love or The Education of Cupid is a c. 1525 painting by the Italian painter Correggio, now in the National Gallery. It depicts the deities Cupid, Mercury, and Venus.

Prompt: キューピッドの教育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

キューピッドの教育

--> owner              =  accession          =  preceded_by        =   followed_by        =   module             =  website            =  }}Venus with Mercury and Cupid, The School of Love or The Education of Cupid is a c. 1525 painting by the Italian painter Correggio, now in the National Gallery. It depicts the deities Cupid, Mercury, and Venus.

Prompt: キューピッドの教育に関して、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

キューピッドの教育

A preparatory sketch for it survives in the British Museum. Venus and Cupid with a Satyr  seems to be its pendant - that painting is larger but Venus with Mercury and Cupid may have been cut down later. They were probably commissioned by Nicola Maffei  and the early fame of Venus with Mercury and Cupid is attested by a copy made by Girolamo Mazzola Bedoli. However, the first written reference to the two paintings is in 1627, by which time they were in the Gonzaga collection in Mantua . Between 1627 and 1628 both paintings were acquired from the Gonzagas by Charles I and it is attested as being in Whitehall Palace in 1639.His collection also contained copies of the painting and its pendant by Peter Oliver, known as Venerie Coeleste  and Venerie Mundano  respectively. At the sale of Charles' goods it was valued at £800 and sold on 23 October 1651 to Thomas Bagley, a glazier in the royal household. It was bought in 1653 by the Spanish ambassador Alonso de Cárdenas for 1600 escudos . He was acting as the agent for Luis de Haro, who had planned to present it to Philip IV of Spain. However, when the painting arrived in Madrid Velazquez challenged its attribution to Correggio and Luis decided to keep it for himself. It was inherited by Luis' son Gaspar de Haro, then by Gaspar's daughter Catalina, wife of Francisco Álvarez de Toledo, 10th Duke of Alba, whose family retained it until 1802. That year the Duchy of Alba was inherited from the Duchess of Alba by the 7th Duke of Berwick and Liria - her relations entered litigation against him, in the course of which Charles IV of Spain ordered that the painting be sold to Manuel de Godoy. De Godoy was arrested six years later, and the painting was confiscated along with the rest of his goods by Joachim Murat, who took it to Naples. After Murat's defeat and execution during the Hundred Days in 1815, his widow Caroline fled to Vienna, taking the painting with her. ter that year she sold it to the future 3rd Marquess of Londonderry. In 1834 Londonderry sold it to  the National Gallery in London, where it now hangs.

Prompt: キューピッドの教育に焦点を当てて、その歴史を説明してください。英語で出力して下さい。


section

キューピッドの教育

A preparatory sketch for it survives in the British Museum. Venus and Cupid with a Satyr  seems to be its pendant - that painting is larger but Venus with Mercury and Cupid may have been cut down later. They were probably commissioned by Nicola Maffei  and the early fame of Venus with Mercury and Cupid is attested by a copy made by Girolamo Mazzola Bedoli. However, the first written reference to the two paintings is in 1627, by which time they were in the Gonzaga collection in Mantua . Between 1627 and 1628 both paintings were acquired from the Gonzagas by Charles I and it is attested as being in Whitehall Palace in 1639.His collection also contained copies of the painting and its pendant by Peter Oliver, known as Venerie Coeleste  and Venerie Mundano  respectively. At the sale of Charles' goods it was valued at £800 and sold on 23 October 1651 to Thomas Bagley, a glazier in the royal household. It was bought in 1653 by the Spanish ambassador Alonso de Cárdenas for 1600 escudos . He was acting as the agent for Luis de Haro, who had planned to present it to Philip IV of Spain. However, when the painting arrived in Madrid Velazquez challenged its attribution to Correggio and Luis decided to keep it for himself. It was inherited by Luis' son Gaspar de Haro, then by Gaspar's daughter Catalina, wife of Francisco Álvarez de Toledo, 10th Duke of Alba, whose family retained it until 1802. That year the Duchy of Alba was inherited from the Duchess of Alba by the 7th Duke of Berwick and Liria - her relations entered litigation against him, in the course of which Charles IV of Spain ordered that the painting be sold to Manuel de Godoy. De Godoy was arrested six years later, and the painting was confiscated along with the rest of his goods by Joachim Murat, who took it to Naples. After Murat's defeat and execution during the Hundred Days in 1815, his widow Caroline fled to Vienna, taking the painting with her. ter that year she sold it to the future 3rd Marquess of Londonderry. In 1834 Londonderry sold it to  the National Gallery in London, where it now hangs.

Prompt: キューピッドの教育の歴史を説明してください。英語で出力して下さい。


section

キューピッドの教育

A preparatory sketch for it survives in the British Museum. Venus and Cupid with a Satyr  seems to be its pendant - that painting is larger but Venus with Mercury and Cupid may have been cut down later. They were probably commissioned by Nicola Maffei  and the early fame of Venus with Mercury and Cupid is attested by a copy made by Girolamo Mazzola Bedoli. However, the first written reference to the two paintings is in 1627, by which time they were in the Gonzaga collection in Mantua . Between 1627 and 1628 both paintings were acquired from the Gonzagas by Charles I and it is attested as being in Whitehall Palace in 1639.His collection also contained copies of the painting and its pendant by Peter Oliver, known as Venerie Coeleste  and Venerie Mundano  respectively. At the sale of Charles' goods it was valued at £800 and sold on 23 October 1651 to Thomas Bagley, a glazier in the royal household. It was bought in 1653 by the Spanish ambassador Alonso de Cárdenas for 1600 escudos . He was acting as the agent for Luis de Haro, who had planned to present it to Philip IV of Spain. However, when the painting arrived in Madrid Velazquez challenged its attribution to Correggio and Luis decided to keep it for himself. It was inherited by Luis' son Gaspar de Haro, then by Gaspar's daughter Catalina, wife of Francisco Álvarez de Toledo, 10th Duke of Alba, whose family retained it until 1802. That year the Duchy of Alba was inherited from the Duchess of Alba by the 7th Duke of Berwick and Liria - her relations entered litigation against him, in the course of which Charles IV of Spain ordered that the painting be sold to Manuel de Godoy. De Godoy was arrested six years later, and the painting was confiscated along with the rest of his goods by Joachim Murat, who took it to Naples. After Murat's defeat and execution during the Hundred Days in 1815, his widow Caroline fled to Vienna, taking the painting with her. ter that year she sold it to the future 3rd Marquess of Londonderry. In 1834 Londonderry sold it to  the National Gallery in London, where it now hangs.

Prompt: キューピッドの教育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

キューピッドの教育

A preparatory sketch for it survives in the British Museum. Venus and Cupid with a Satyr  seems to be its pendant - that painting is larger but Venus with Mercury and Cupid may have been cut down later. They were probably commissioned by Nicola Maffei  and the early fame of Venus with Mercury and Cupid is attested by a copy made by Girolamo Mazzola Bedoli. However, the first written reference to the two paintings is in 1627, by which time they were in the Gonzaga collection in Mantua . Between 1627 and 1628 both paintings were acquired from the Gonzagas by Charles I and it is attested as being in Whitehall Palace in 1639.His collection also contained copies of the painting and its pendant by Peter Oliver, known as Venerie Coeleste  and Venerie Mundano  respectively. At the sale of Charles' goods it was valued at £800 and sold on 23 October 1651 to Thomas Bagley, a glazier in the royal household. It was bought in 1653 by the Spanish ambassador Alonso de Cárdenas for 1600 escudos . He was acting as the agent for Luis de Haro, who had planned to present it to Philip IV of Spain. However, when the painting arrived in Madrid Velazquez challenged its attribution to Correggio and Luis decided to keep it for himself. It was inherited by Luis' son Gaspar de Haro, then by Gaspar's daughter Catalina, wife of Francisco Álvarez de Toledo, 10th Duke of Alba, whose family retained it until 1802. That year the Duchy of Alba was inherited from the Duchess of Alba by the 7th Duke of Berwick and Liria - her relations entered litigation against him, in the course of which Charles IV of Spain ordered that the painting be sold to Manuel de Godoy. De Godoy was arrested six years later, and the painting was confiscated along with the rest of his goods by Joachim Murat, who took it to Naples. After Murat's defeat and execution during the Hundred Days in 1815, his widow Caroline fled to Vienna, taking the painting with her. ter that year she sold it to the future 3rd Marquess of Londonderry. In 1834 Londonderry sold it to  the National Gallery in London, where it now hangs.

Prompt: キューピッドの教育に関して、どのように歴史が議論されていますか？英語で出力して下さい。


section

キューピッドの教育

At least four early copies of the painting are known: former property of Baron Massias in Paris,  Ham House, near London, has a copy no doubt made when the painting was in London, now National Trust.), former property of Baron Brukenthal in Hermannstadt , former property of Marguerite Pelouze in the Château de Chenonceau.At least two versions, those at Sibiu and Chenonceau, are still exhibited as authentic works by Correggio.

Prompt: キューピッドの教育に焦点を当てて、その他のバージョンを説明してください。英語で出力して下さい。

Château de Chenonceau
Ham House
Sibiu
London


section

キューピッドの教育

At least four early copies of the painting are known: former property of Baron Massias in Paris,  Ham House, near London, has a copy no doubt made when the painting was in London, now National Trust.), former property of Baron Brukenthal in Hermannstadt , former property of Marguerite Pelouze in the Château de Chenonceau.At least two versions, those at Sibiu and Chenonceau, are still exhibited as authentic works by Correggio.

Prompt: キューピッドの教育の他のバージョンを説明してください。英語で出力して下さい。

Château de Chenonceau
Ham House
Sibiu
London


section

キューピッドの教育

At least four early copies of the painting are known: former property of Baron Massias in Paris,  Ham House, near London, has a copy no doubt made when the painting was in London, now National Trust.), former property of Baron Brukenthal in Hermannstadt , former property of Marguerite Pelouze in the Château de Chenonceau.At least two versions, those at Sibiu and Chenonceau, are still exhibited as authentic works by Correggio.

Prompt: キューピッドの教育はどのように他のバージョンを説明していますか？英語で出力して下さい。

Château de Chenonceau
Ham House
Sibiu
London


section

キューピッドの教育

At least four early copies of the painting are known: former property of Baron Massias in Paris,  Ham House, near London, has a copy no doubt made when the painting was in London, now National Trust.), former property of Baron Brukenthal in Hermannstadt , former property of Marguerite Pelouze in the Château de Chenonceau.At least two versions, those at Sibiu and Chenonceau, are still exhibited as authentic works by Correggio.

Prompt: キューピッドの教育に関して、どのように他のバージョンが議論されていますか？英語で出力して下さい。

Château de Chenonceau
Ham House
Sibiu
London


section

キューピッドの教育

category:1525 paintingsCategory:Mythological paintings by CorreggioCategory:Paintings of VenusCategory:Paintings of CupidCategory:Nude artCategory:Paintings in the National Gallery, Londoncategory:Gonzaga art collection

Prompt: キューピッドの教育に焦点を当てて、その参考文献を説明してください。英語で出力して下さい。


section

キューピッドの教育

category:1525 paintingsCategory:Mythological paintings by CorreggioCategory:Paintings of VenusCategory:Paintings of CupidCategory:Nude artCategory:Paintings in the National Gallery, Londoncategory:Gonzaga art collection

Prompt: キューピッドの教育の参考文献を説明してください。英語で出力して下さい。


section

キューピッドの教育

category:1525 paintingsCategory:Mythological paintings by CorreggioCategory:Paintings of VenusCategory:Paintings of CupidCategory:Nude artCategory:Paintings in the National Gallery, Londoncategory:Gonzaga art collection

Prompt: キューピッドの教育はどのように参考文献を説明していますか？英語で出力して下さい。


section

キューピッドの教育

category:1525 paintingsCategory:Mythological paintings by CorreggioCategory:Paintings of VenusCategory:Paintings of CupidCategory:Nude artCategory:Paintings in the National Gallery, Londoncategory:Gonzaga art collection

Prompt: キューピッドの教育に関して、どのように参考文献が議論されていますか？英語で出力して下さい。


section

化粧台にて。自画像

completion_date    =   catalogue          =  medium             = Oil on canvas movement           = subject            =  height_metric      = 75 width_metric       = 65 length_metric      =  diameter_metric    =  dimensions         =  dimensions_ref     =  weight             =  designation        =  condition          =  museum             = Tretyakov Gallery city               = Moscow coordinates        =   owner              =  accession          =  preceded_by        =  followed_by        =  module             =  website            = }}At the Dressing-Table. Self-Portrait  is a 1909 painting by Russian-French painter Zinaida Serebriakova. The painting is in the collection of the Tretyakov Gallery in Moscow. Its size is 75 × 65 cm.At the Dressing-Table was executed by Serebriakova in 1909 while she was living near Neskuchnoye, Kursk Governorate . According to Serebriakova, the winter came early in that year, there was a lot of snow, but it was warm in the house, so "she started to paint herself in the mirror, entertaining by drawing different small things from her dressing-table".On the insistence of Eugene nceray, her brother, Serebriakova sent At the Dressing-Table to Saint-Petersburg. It was exhibited at the 7th exhibition of the Union of Russian Artists, which moved from Moscow in the beginning of 1910. The painting was well received by the public and art critics. The painter Valentin Serov called it a "very cute and fresh thing", while the painter and critic Alexandre Benois wrote that Serebriakova "gave to Russian public such a wonderful gift, such a "smile from ear to ear", that one cannot fail to thank her for that". Right after the exposition the painting was bought by the Tretyakov Gallery.The current self-portrait At the Dressing-Table is considered one of the most important works of Serebriakova along with Bath-house , Harvest  and Whitening Canvas .

Prompt: 化粧台にて。自画像に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Alexandre Benois
Canvas
Kursk Governorate
Moscow
Tretyakov Gallery
Valentin Serov
Zinaida Serebriakova


section

化粧台にて。自画像

completion_date    =   catalogue          =  medium             = Oil on canvas movement           = subject            =  height_metric      = 75 width_metric       = 65 length_metric      =  diameter_metric    =  dimensions         =  dimensions_ref     =  weight             =  designation        =  condition          =  museum             = Tretyakov Gallery city               = Moscow coordinates        =   owner              =  accession          =  preceded_by        =  followed_by        =  module             =  website            = }}At the Dressing-Table. Self-Portrait  is a 1909 painting by Russian-French painter Zinaida Serebriakova. The painting is in the collection of the Tretyakov Gallery in Moscow. Its size is 75 × 65 cm.At the Dressing-Table was executed by Serebriakova in 1909 while she was living near Neskuchnoye, Kursk Governorate . According to Serebriakova, the winter came early in that year, there was a lot of snow, but it was warm in the house, so "she started to paint herself in the mirror, entertaining by drawing different small things from her dressing-table".On the insistence of Eugene nceray, her brother, Serebriakova sent At the Dressing-Table to Saint-Petersburg. It was exhibited at the 7th exhibition of the Union of Russian Artists, which moved from Moscow in the beginning of 1910. The painting was well received by the public and art critics. The painter Valentin Serov called it a "very cute and fresh thing", while the painter and critic Alexandre Benois wrote that Serebriakova "gave to Russian public such a wonderful gift, such a "smile from ear to ear", that one cannot fail to thank her for that". Right after the exposition the painting was bought by the Tretyakov Gallery.The current self-portrait At the Dressing-Table is considered one of the most important works of Serebriakova along with Bath-house , Harvest  and Whitening Canvas .

Prompt: 化粧台にて。自画像の抽象を説明してください。英語で出力して下さい。

Alexandre Benois
Canvas
Kursk Governorate
Moscow
Tretyakov Gallery
Valentin Serov
Zinaida Serebriakova


section

化粧台にて。自画像

completion_date    =   catalogue          =  medium             = Oil on canvas movement           = subject            =  height_metric      = 75 width_metric       = 65 length_metric      =  diameter_metric    =  dimensions         =  dimensions_ref     =  weight             =  designation        =  condition          =  museum             = Tretyakov Gallery city               = Moscow coordinates        =   owner              =  accession          =  preceded_by        =  followed_by        =  module             =  website            = }}At the Dressing-Table. Self-Portrait  is a 1909 painting by Russian-French painter Zinaida Serebriakova. The painting is in the collection of the Tretyakov Gallery in Moscow. Its size is 75 × 65 cm.At the Dressing-Table was executed by Serebriakova in 1909 while she was living near Neskuchnoye, Kursk Governorate . According to Serebriakova, the winter came early in that year, there was a lot of snow, but it was warm in the house, so "she started to paint herself in the mirror, entertaining by drawing different small things from her dressing-table".On the insistence of Eugene nceray, her brother, Serebriakova sent At the Dressing-Table to Saint-Petersburg. It was exhibited at the 7th exhibition of the Union of Russian Artists, which moved from Moscow in the beginning of 1910. The painting was well received by the public and art critics. The painter Valentin Serov called it a "very cute and fresh thing", while the painter and critic Alexandre Benois wrote that Serebriakova "gave to Russian public such a wonderful gift, such a "smile from ear to ear", that one cannot fail to thank her for that". Right after the exposition the painting was bought by the Tretyakov Gallery.The current self-portrait At the Dressing-Table is considered one of the most important works of Serebriakova along with Bath-house , Harvest  and Whitening Canvas .

Prompt: 化粧台にて。自画像はどのように抽象を説明していますか？英語で出力して下さい。

Alexandre Benois
Canvas
Kursk Governorate
Moscow
Tretyakov Gallery
Valentin Serov
Zinaida Serebriakova


section

化粧台にて。自画像

completion_date    =   catalogue          =  medium             = Oil on canvas movement           = subject            =  height_metric      = 75 width_metric       = 65 length_metric      =  diameter_metric    =  dimensions         =  dimensions_ref     =  weight             =  designation        =  condition          =  museum             = Tretyakov Gallery city               = Moscow coordinates        =   owner              =  accession          =  preceded_by        =  followed_by        =  module             =  website            = }}At the Dressing-Table. Self-Portrait  is a 1909 painting by Russian-French painter Zinaida Serebriakova. The painting is in the collection of the Tretyakov Gallery in Moscow. Its size is 75 × 65 cm.At the Dressing-Table was executed by Serebriakova in 1909 while she was living near Neskuchnoye, Kursk Governorate . According to Serebriakova, the winter came early in that year, there was a lot of snow, but it was warm in the house, so "she started to paint herself in the mirror, entertaining by drawing different small things from her dressing-table".On the insistence of Eugene nceray, her brother, Serebriakova sent At the Dressing-Table to Saint-Petersburg. It was exhibited at the 7th exhibition of the Union of Russian Artists, which moved from Moscow in the beginning of 1910. The painting was well received by the public and art critics. The painter Valentin Serov called it a "very cute and fresh thing", while the painter and critic Alexandre Benois wrote that Serebriakova "gave to Russian public such a wonderful gift, such a "smile from ear to ear", that one cannot fail to thank her for that". Right after the exposition the painting was bought by the Tretyakov Gallery.The current self-portrait At the Dressing-Table is considered one of the most important works of Serebriakova along with Bath-house , Harvest  and Whitening Canvas .

Prompt: 化粧台にて。自画像に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Alexandre Benois
Canvas
Kursk Governorate
Moscow
Tretyakov Gallery
Valentin Serov
Zinaida Serebriakova


section

洞窟の聖母

The Madonna of the Caves  is a tempera on panel painting measuring 32 cm 29.6 cm. It was painted in 1488-1490 by the Italian painter Andrea Mantegna and is now in the Uffizi Gallery in Florence.It is named after a stone quarry in the right-hand background, where workers are carving out a capital, a slab, part of a column shaft and a sarcophagus, perhaps alluding to Christ future flagellation and burial. The rock on which the Virgin sits may also be intended to represent the summit of Calvary, whilst in the left-hand background are a shepherd and his flock, farmers gathering hay from a field, a castle and a road leading to a distant walled city. Fiocco argues that the background is based on Carrara whilst Kristeller instead identifies it with Monte Bolca between Vicenza and Verona. Some interpret the shift from dark to light moving from right to left across the background as an allegory of redemption through Christ and the Church, with Mary as the mother of both.

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

Andrea Mantegna
Calvary
Carrara
Florence
Monte Bolca
Uffizi
Verona
Vicenza


section

洞窟の聖母

The Madonna of the Caves  is a tempera on panel painting measuring 32 cm 29.6 cm. It was painted in 1488-1490 by the Italian painter Andrea Mantegna and is now in the Uffizi Gallery in Florence.It is named after a stone quarry in the right-hand background, where workers are carving out a capital, a slab, part of a column shaft and a sarcophagus, perhaps alluding to Christ future flagellation and burial. The rock on which the Virgin sits may also be intended to represent the summit of Calvary, whilst in the left-hand background are a shepherd and his flock, farmers gathering hay from a field, a castle and a road leading to a distant walled city. Fiocco argues that the background is based on Carrara whilst Kristeller instead identifies it with Monte Bolca between Vicenza and Verona. Some interpret the shift from dark to light moving from right to left across the background as an allegory of redemption through Christ and the Church, with Mary as the mother of both.

Prompt: 洞窟の聖母の抽象を説明してください。英語で出力して下さい。

Andrea Mantegna
Calvary
Carrara
Florence
Monte Bolca
Uffizi
Verona
Vicenza


section

洞窟の聖母

The Madonna of the Caves  is a tempera on panel painting measuring 32 cm 29.6 cm. It was painted in 1488-1490 by the Italian painter Andrea Mantegna and is now in the Uffizi Gallery in Florence.It is named after a stone quarry in the right-hand background, where workers are carving out a capital, a slab, part of a column shaft and a sarcophagus, perhaps alluding to Christ future flagellation and burial. The rock on which the Virgin sits may also be intended to represent the summit of Calvary, whilst in the left-hand background are a shepherd and his flock, farmers gathering hay from a field, a castle and a road leading to a distant walled city. Fiocco argues that the background is based on Carrara whilst Kristeller instead identifies it with Monte Bolca between Vicenza and Verona. Some interpret the shift from dark to light moving from right to left across the background as an allegory of redemption through Christ and the Church, with Mary as the mother of both.

Prompt: 洞窟の聖母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。

Andrea Mantegna
Calvary
Carrara
Florence
Monte Bolca
Uffizi
Verona
Vicenza


section

洞窟の聖母

The Madonna of the Caves  is a tempera on panel painting measuring 32 cm 29.6 cm. It was painted in 1488-1490 by the Italian painter Andrea Mantegna and is now in the Uffizi Gallery in Florence.It is named after a stone quarry in the right-hand background, where workers are carving out a capital, a slab, part of a column shaft and a sarcophagus, perhaps alluding to Christ future flagellation and burial. The rock on which the Virgin sits may also be intended to represent the summit of Calvary, whilst in the left-hand background are a shepherd and his flock, farmers gathering hay from a field, a castle and a road leading to a distant walled city. Fiocco argues that the background is based on Carrara whilst Kristeller instead identifies it with Monte Bolca between Vicenza and Verona. Some interpret the shift from dark to light moving from right to left across the background as an allegory of redemption through Christ and the Church, with Mary as the mother of both.

Prompt: 洞窟の聖母に関して、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。

Andrea Mantegna
Calvary
Carrara
Florence
Monte Bolca
Uffizi
Verona
Vicenza


section

洞窟の聖母

Its dating to 1488–1490 is based on Giorgio Vasari's description of Francesco I de' Medici's collections, which attributes it to Mantegna's time in Rome. Some have linked it to a work commissioned from Mantegna by Lorenzo de' Medici and mentioned in a letter from Lorenzo. Other historians date it differently due to its style and figuration. However, Mantegna's re-use of certain themes like rocky backgrounds throughout his career makes it difficult to date uncertain works definitively.

Prompt: 洞窟の聖母に焦点を当てて、そのデートを説明してください。英語で出力して下さい。

Francesco I de' Medici
Giorgio Vasari
Lorenzo de' Medici


section

洞窟の聖母

Its dating to 1488–1490 is based on Giorgio Vasari's description of Francesco I de' Medici's collections, which attributes it to Mantegna's time in Rome. Some have linked it to a work commissioned from Mantegna by Lorenzo de' Medici and mentioned in a letter from Lorenzo. Other historians date it differently due to its style and figuration. However, Mantegna's re-use of certain themes like rocky backgrounds throughout his career makes it difficult to date uncertain works definitively.

Prompt: 洞窟の聖母のデートを説明してください。英語で出力して下さい。

Francesco I de' Medici
Giorgio Vasari
Lorenzo de' Medici


section

洞窟の聖母

Its dating to 1488–1490 is based on Giorgio Vasari's description of Francesco I de' Medici's collections, which attributes it to Mantegna's time in Rome. Some have linked it to a work commissioned from Mantegna by Lorenzo de' Medici and mentioned in a letter from Lorenzo. Other historians date it differently due to its style and figuration. However, Mantegna's re-use of certain themes like rocky backgrounds throughout his career makes it difficult to date uncertain works definitively.

Prompt: 洞窟の聖母はどのようにデートを説明していますか？英語で出力して下さい。

Francesco I de' Medici
Giorgio Vasari
Lorenzo de' Medici


section

洞窟の聖母

Its dating to 1488–1490 is based on Giorgio Vasari's description of Francesco I de' Medici's collections, which attributes it to Mantegna's time in Rome. Some have linked it to a work commissioned from Mantegna by Lorenzo de' Medici and mentioned in a letter from Lorenzo. Other historians date it differently due to its style and figuration. However, Mantegna's re-use of certain themes like rocky backgrounds throughout his career makes it difficult to date uncertain works definitively.

Prompt: 洞窟の聖母に関して、どのようにデートが議論されていますか？英語で出力して下さい。

Francesco I de' Medici
Giorgio Vasari
Lorenzo de' Medici


section

洞窟の聖母

Tatjana Pauli, Mantegna, serie Art Book, Leonardo Arte, Milano 2001.  Alberta De Nicolò Salmazo, Mantegna, Electa, Milano 1997. Ettore Camesasca, Mantegna, in AA.VV., Pittori del Rinascimento, Scala, Firenze 2007.  Gloria Fossi, Uffizi, Giunti, Firenze 2004.

Prompt: 洞窟の聖母に焦点を当てて、その参考文献を説明してください。英語で出力して下さい。


section

洞窟の聖母

Tatjana Pauli, Mantegna, serie Art Book, Leonardo Arte, Milano 2001.  Alberta De Nicolò Salmazo, Mantegna, Electa, Milano 1997. Ettore Camesasca, Mantegna, in AA.VV., Pittori del Rinascimento, Scala, Firenze 2007.  Gloria Fossi, Uffizi, Giunti, Firenze 2004.

Prompt: 洞窟の聖母の参考文献を説明してください。英語で出力して下さい。


section

洞窟の聖母

Tatjana Pauli, Mantegna, serie Art Book, Leonardo Arte, Milano 2001.  Alberta De Nicolò Salmazo, Mantegna, Electa, Milano 1997. Ettore Camesasca, Mantegna, in AA.VV., Pittori del Rinascimento, Scala, Firenze 2007.  Gloria Fossi, Uffizi, Giunti, Firenze 2004.

Prompt: 洞窟の聖母はどのように参考文献を説明していますか？英語で出力して下さい。


section

洞窟の聖母

Tatjana Pauli, Mantegna, serie Art Book, Leonardo Arte, Milano 2001.  Alberta De Nicolò Salmazo, Mantegna, Electa, Milano 1997. Ettore Camesasca, Mantegna, in AA.VV., Pittori del Rinascimento, Scala, Firenze 2007.  Gloria Fossi, Uffizi, Giunti, Firenze 2004.

Prompt: 洞窟の聖母に関して、どのように参考文献が議論されていますか？英語で出力して下さい。


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キュベレ崇拝のローマ到来

The Introduction of the Cult of Cybele at Rome is a painting in glue tempera on canvas by Andrea Mantegna. Measuring 73.5 cm by 268 cm, It was produced in 1505–1506 and is now in the National Gallery in London. Like much of Mantegna's output after 1495 it is in monochrome, linked to contemporary sculpture and also part of the trend for illusion and trompe-l'œil favoured by the Mantuan court and especially by Isabella d'Este.

Prompt: キュベレ崇拝のローマ到来に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Andrea Mantegna
Cybele
Isabella d'Este
London
National Gallery


section

キュベレ崇拝のローマ到来

The Introduction of the Cult of Cybele at Rome is a painting in glue tempera on canvas by Andrea Mantegna. Measuring 73.5 cm by 268 cm, It was produced in 1505–1506 and is now in the National Gallery in London. Like much of Mantegna's output after 1495 it is in monochrome, linked to contemporary sculpture and also part of the trend for illusion and trompe-l'œil favoured by the Mantuan court and especially by Isabella d'Este.

Prompt: キュベレ崇拝のローマ到来の抽象を説明してください。英語で出力して下さい。

Andrea Mantegna
Cybele
Isabella d'Este
London
National Gallery


section

キュベレ崇拝のローマ到来

The Introduction of the Cult of Cybele at Rome is a painting in glue tempera on canvas by Andrea Mantegna. Measuring 73.5 cm by 268 cm, It was produced in 1505–1506 and is now in the National Gallery in London. Like much of Mantegna's output after 1495 it is in monochrome, linked to contemporary sculpture and also part of the trend for illusion and trompe-l'œil favoured by the Mantuan court and especially by Isabella d'Este.

Prompt: キュベレ崇拝のローマ到来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。

Andrea Mantegna
Cybele
Isabella d'Este
London
National Gallery


section

キュベレ崇拝のローマ到来

The Introduction of the Cult of Cybele at Rome is a painting in glue tempera on canvas by Andrea Mantegna. Measuring 73.5 cm by 268 cm, It was produced in 1505–1506 and is now in the National Gallery in London. Like much of Mantegna's output after 1495 it is in monochrome, linked to contemporary sculpture and also part of the trend for illusion and trompe-l'œil favoured by the Mantuan court and especially by Isabella d'Este.

Prompt: キュベレ崇拝のローマ到来に関して、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。

Andrea Mantegna
Cybele
Isabella d'Este
London
National Gallery


section

キュベレ崇拝のローマ到来

The Introduction of the Cult of Cybele at Rome

It was commissioned in 1505 by cardinal Marco Cornaro for the study of his brother Francesco, a patrician of Venice. The Cornaro family was said to be descended from the Cornelia gens of ancient Rome; the same cardinal signed himself "Marcus Cardinalis Cornelius" in a letter asking Francesco II Gonzaga for a work from Mantegna, who was the latter's court painter at the time.The chosen subject was from the history of the Cornelii, specifically the arrival of the goddess Cybele's image in Rome during the Second Punic War, as told in Ovid, Appian and Livy. Scipio Africanus had consulted the Sibylline Books and ordered that the image be brought from Mount Ida. The Delphic Oracle requested that the most worthy Roman be sent to collect it and so the senate had chosen Africanus's cousin Scipio Nasica for the role. The ship carrying the image back got stuck in the shallows of the River Tiber, but the Vestal Virgin Claudia Quinta proved her virginity by helping to free it.Mantegna showed a scene after the image had been brought ashore, just as it arrives at the temple built in Rome for it. He based it on ancient Roman sarcophagi, then starting to be rediscovered and entering collections such as that of the Gonzaga in Mantua. He painted the scene as if it were carved into a piece of marble with two differently mottled layers, one forming the scene and the other the background. Two pyramid tombs to the left bear the names of Nasica's father Gnaeus Cornelius Scipio Calvus and Africanus's father Publius Cornelius Scipio, both brothers. The two bearers in front of the image are turbaned like Moors, and the bearded pair at the back wear tiara-like hats. One of the two rear bearers also holds a laurel branch, as used in a Roman triumph, as does a young slave crouching in front of the bust. The bust wears a corona turrita and stands on a sphere on a precious carpet, with the sphere representing universality. Behind it is a ritual torch, whilst Nasica is shown as a young man kneeling before the bust; his words welcoming it are shown on the lower border. Behind him is another senator, probably Africanus, who is speaking to another man, possibly his fellow-consul Publius Licinius Crassus Dives. The furthest right figure is a shepherd, wearing a Phrygian cap, playing a flute and drum and standing on the steps of the temple to which the image is being brought; a trumpet protrudes from the temple doors.Giovanni Bellini's Continence of Scipio  was painted as a pendant for it, but two other intended paintings were never produced. Garavaglia cites a spoken assertion by Roberto Longhi that the painting could have been accompanied by the two smaller monochrome works Sophonisba and Tuccia. They are certainly the same height as The Introduction, but they are on panel not canvas and no documents support the theory.Pietro Bembo wrote a letter to Isabella Gonzaga in 1505, referring to arguments about payment between the commissioner and the painter, which meant it was still mentioned in the inventory of Mantegna's studio contents after his death in 1506, which refers to it as "principiata" . It was completed by Mantegna's son Francesco, by Bellini or another painter. Like other works in Mantegna's studio upon his death, it was acquired by cardinal Sigismondo Gonzaga, who in 1507 finally delivered it to Francesco Cornaro.

Prompt: キュベレ崇拝のローマ到来に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Appian
Cornelia gens
Cybele
Giovanni Bellini
Gnaeus Cornelius Scipio Calvus
Isabella Gonzaga
Livy
Moors
Mount Ida
Ovid
Phrygian cap
Pietro Bembo
Tiber
Roberto Longhi
Roman triumph
Scipio Africanus
Second Punic War
Sibylline Books
Sigismondo Gonzaga
Venice
Vestal Virgin


section

キュベレ崇拝のローマ到来

The Introduction of the Cult of Cybele at Rome

It was commissioned in 1505 by cardinal Marco Cornaro for the study of his brother Francesco, a patrician of Venice. The Cornaro family was said to be descended from the Cornelia gens of ancient Rome; the same cardinal signed himself "Marcus Cardinalis Cornelius" in a letter asking Francesco II Gonzaga for a work from Mantegna, who was the latter's court painter at the time.The chosen subject was from the history of the Cornelii, specifically the arrival of the goddess Cybele's image in Rome during the Second Punic War, as told in Ovid, Appian and Livy. Scipio Africanus had consulted the Sibylline Books and ordered that the image be brought from Mount Ida. The Delphic Oracle requested that the most worthy Roman be sent to collect it and so the senate had chosen Africanus's cousin Scipio Nasica for the role. The ship carrying the image back got stuck in the shallows of the River Tiber, but the Vestal Virgin Claudia Quinta proved her virginity by helping to free it.Mantegna showed a scene after the image had been brought ashore, just as it arrives at the temple built in Rome for it. He based it on ancient Roman sarcophagi, then starting to be rediscovered and entering collections such as that of the Gonzaga in Mantua. He painted the scene as if it were carved into a piece of marble with two differently mottled layers, one forming the scene and the other the background. Two pyramid tombs to the left bear the names of Nasica's father Gnaeus Cornelius Scipio Calvus and Africanus's father Publius Cornelius Scipio, both brothers. The two bearers in front of the image are turbaned like Moors, and the bearded pair at the back wear tiara-like hats. One of the two rear bearers also holds a laurel branch, as used in a Roman triumph, as does a young slave crouching in front of the bust. The bust wears a corona turrita and stands on a sphere on a precious carpet, with the sphere representing universality. Behind it is a ritual torch, whilst Nasica is shown as a young man kneeling before the bust; his words welcoming it are shown on the lower border. Behind him is another senator, probably Africanus, who is speaking to another man, possibly his fellow-consul Publius Licinius Crassus Dives. The furthest right figure is a shepherd, wearing a Phrygian cap, playing a flute and drum and standing on the steps of the temple to which the image is being brought; a trumpet protrudes from the temple doors.Giovanni Bellini's Continence of Scipio  was painted as a pendant for it, but two other intended paintings were never produced. Garavaglia cites a spoken assertion by Roberto Longhi that the painting could have been accompanied by the two smaller monochrome works Sophonisba and Tuccia. They are certainly the same height as The Introduction, but they are on panel not canvas and no documents support the theory.Pietro Bembo wrote a letter to Isabella Gonzaga in 1505, referring to arguments about payment between the commissioner and the painter, which meant it was still mentioned in the inventory of Mantegna's studio contents after his death in 1506, which refers to it as "principiata" . It was completed by Mantegna's son Francesco, by Bellini or another painter. Like other works in Mantegna's studio upon his death, it was acquired by cardinal Sigismondo Gonzaga, who in 1507 finally delivered it to Francesco Cornaro.

Prompt: キュベレ崇拝のローマ到来の歴史を説明してください。英語で出力して下さい。

Appian
Cornelia gens
Cybele
Giovanni Bellini
Gnaeus Cornelius Scipio Calvus
Isabella Gonzaga
Livy
Moors
Mount Ida
Ovid
Phrygian cap
Pietro Bembo
Tiber
Roberto Longhi
Roman triumph
Scipio Africanus
Second Punic War
Sibylline Books
Sigismondo Gonzaga
Venice
Vestal Virgin


section

キュベレ崇拝のローマ到来

The Introduction of the Cult of Cybele at Rome

It was commissioned in 1505 by cardinal Marco Cornaro for the study of his brother Francesco, a patrician of Venice. The Cornaro family was said to be descended from the Cornelia gens of ancient Rome; the same cardinal signed himself "Marcus Cardinalis Cornelius" in a letter asking Francesco II Gonzaga for a work from Mantegna, who was the latter's court painter at the time.The chosen subject was from the history of the Cornelii, specifically the arrival of the goddess Cybele's image in Rome during the Second Punic War, as told in Ovid, Appian and Livy. Scipio Africanus had consulted the Sibylline Books and ordered that the image be brought from Mount Ida. The Delphic Oracle requested that the most worthy Roman be sent to collect it and so the senate had chosen Africanus's cousin Scipio Nasica for the role. The ship carrying the image back got stuck in the shallows of the River Tiber, but the Vestal Virgin Claudia Quinta proved her virginity by helping to free it.Mantegna showed a scene after the image had been brought ashore, just as it arrives at the temple built in Rome for it. He based it on ancient Roman sarcophagi, then starting to be rediscovered and entering collections such as that of the Gonzaga in Mantua. He painted the scene as if it were carved into a piece of marble with two differently mottled layers, one forming the scene and the other the background. Two pyramid tombs to the left bear the names of Nasica's father Gnaeus Cornelius Scipio Calvus and Africanus's father Publius Cornelius Scipio, both brothers. The two bearers in front of the image are turbaned like Moors, and the bearded pair at the back wear tiara-like hats. One of the two rear bearers also holds a laurel branch, as used in a Roman triumph, as does a young slave crouching in front of the bust. The bust wears a corona turrita and stands on a sphere on a precious carpet, with the sphere representing universality. Behind it is a ritual torch, whilst Nasica is shown as a young man kneeling before the bust; his words welcoming it are shown on the lower border. Behind him is another senator, probably Africanus, who is speaking to another man, possibly his fellow-consul Publius Licinius Crassus Dives. The furthest right figure is a shepherd, wearing a Phrygian cap, playing a flute and drum and standing on the steps of the temple to which the image is being brought; a trumpet protrudes from the temple doors.Giovanni Bellini's Continence of Scipio  was painted as a pendant for it, but two other intended paintings were never produced. Garavaglia cites a spoken assertion by Roberto Longhi that the painting could have been accompanied by the two smaller monochrome works Sophonisba and Tuccia. They are certainly the same height as The Introduction, but they are on panel not canvas and no documents support the theory.Pietro Bembo wrote a letter to Isabella Gonzaga in 1505, referring to arguments about payment between the commissioner and the painter, which meant it was still mentioned in the inventory of Mantegna's studio contents after his death in 1506, which refers to it as "principiata" . It was completed by Mantegna's son Francesco, by Bellini or another painter. Like other works in Mantegna's studio upon his death, it was acquired by cardinal Sigismondo Gonzaga, who in 1507 finally delivered it to Francesco Cornaro.

Prompt: キュベレ崇拝のローマ到来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。

Appian
Cornelia gens
Cybele
Giovanni Bellini
Gnaeus Cornelius Scipio Calvus
Isabella Gonzaga
Livy
Moors
Mount Ida
Ovid
Phrygian cap
Pietro Bembo
Tiber
Roberto Longhi
Roman triumph
Scipio Africanus
Second Punic War
Sibylline Books
Sigismondo Gonzaga
Venice
Vestal Virgin


section

キュベレ崇拝のローマ到来

The Introduction of the Cult of Cybele at Rome

It was commissioned in 1505 by cardinal Marco Cornaro for the study of his brother Francesco, a patrician of Venice. The Cornaro family was said to be descended from the Cornelia gens of ancient Rome; the same cardinal signed himself "Marcus Cardinalis Cornelius" in a letter asking Francesco II Gonzaga for a work from Mantegna, who was the latter's court painter at the time.The chosen subject was from the history of the Cornelii, specifically the arrival of the goddess Cybele's image in Rome during the Second Punic War, as told in Ovid, Appian and Livy. Scipio Africanus had consulted the Sibylline Books and ordered that the image be brought from Mount Ida. The Delphic Oracle requested that the most worthy Roman be sent to collect it and so the senate had chosen Africanus's cousin Scipio Nasica for the role. The ship carrying the image back got stuck in the shallows of the River Tiber, but the Vestal Virgin Claudia Quinta proved her virginity by helping to free it.Mantegna showed a scene after the image had been brought ashore, just as it arrives at the temple built in Rome for it. He based it on ancient Roman sarcophagi, then starting to be rediscovered and entering collections such as that of the Gonzaga in Mantua. He painted the scene as if it were carved into a piece of marble with two differently mottled layers, one forming the scene and the other the background. Two pyramid tombs to the left bear the names of Nasica's father Gnaeus Cornelius Scipio Calvus and Africanus's father Publius Cornelius Scipio, both brothers. The two bearers in front of the image are turbaned like Moors, and the bearded pair at the back wear tiara-like hats. One of the two rear bearers also holds a laurel branch, as used in a Roman triumph, as does a young slave crouching in front of the bust. The bust wears a corona turrita and stands on a sphere on a precious carpet, with the sphere representing universality. Behind it is a ritual torch, whilst Nasica is shown as a young man kneeling before the bust; his words welcoming it are shown on the lower border. Behind him is another senator, probably Africanus, who is speaking to another man, possibly his fellow-consul Publius Licinius Crassus Dives. The furthest right figure is a shepherd, wearing a Phrygian cap, playing a flute and drum and standing on the steps of the temple to which the image is being brought; a trumpet protrudes from the temple doors.Giovanni Bellini's Continence of Scipio  was painted as a pendant for it, but two other intended paintings were never produced. Garavaglia cites a spoken assertion by Roberto Longhi that the painting could have been accompanied by the two smaller monochrome works Sophonisba and Tuccia. They are certainly the same height as The Introduction, but they are on panel not canvas and no documents support the theory.Pietro Bembo wrote a letter to Isabella Gonzaga in 1505, referring to arguments about payment between the commissioner and the painter, which meant it was still mentioned in the inventory of Mantegna's studio contents after his death in 1506, which refers to it as "principiata" . It was completed by Mantegna's son Francesco, by Bellini or another painter. Like other works in Mantegna's studio upon his death, it was acquired by cardinal Sigismondo Gonzaga, who in 1507 finally delivered it to Francesco Cornaro.

Prompt: キュベレ崇拝のローマ到来に関して、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。

Appian
Cornelia gens
Cybele
Giovanni Bellini
Gnaeus Cornelius Scipio Calvus
Isabella Gonzaga
Livy
Moors
Mount Ida
Ovid
Phrygian cap
Pietro Bembo
Tiber
Roberto Longhi
Roman triumph
Scipio Africanus
Second Punic War
Sibylline Books
Sigismondo Gonzaga
Venice
Vestal Virgin


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キュベレ崇拝のローマ到来

The Introduction of the Cult of Cybele at Rome

Category:Paintings by Andrea Mantegnacategory:1506 paintingscategory:Second Punic WarCategory:Paintings in the National Gallery, Londoncategory:History paintings

Prompt: キュベレ崇拝のローマ到来に焦点を当てて、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。

Andrea Mantegna
London
National Gallery
Second Punic War


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キュベレ崇拝のローマ到来

The Introduction of the Cult of Cybele at Rome

Category:Paintings by Andrea Mantegnacategory:1506 paintingscategory:Second Punic WarCategory:Paintings in the National Gallery, Londoncategory:History paintings

Prompt: キュベレ崇拝のローマ到来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。

Andrea Mantegna
London
National Gallery
Second Punic War


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キュベレ崇拝のローマ到来

The Introduction of the Cult of Cybele at Rome

Category:Paintings by Andrea Mantegnacategory:1506 paintingscategory:Second Punic WarCategory:Paintings in the National Gallery, Londoncategory:History paintings

Prompt: キュベレ崇拝のローマ到来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。

Andrea Mantegna
London
National Gallery
Second Punic War


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キュベレ崇拝のローマ到来

The Introduction of the Cult of Cybele at Rome

Category:Paintings by Andrea Mantegnacategory:1506 paintingscategory:Second Punic WarCategory:Paintings in the National Gallery, Londoncategory:History paintings

Prompt: キュベレ崇拝のローマ到来に関して、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。

Andrea Mantegna
London
National Gallery
Second Punic War


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アルトマンの聖母

The Altman Madonna or Holy Family with St Mary Magdalene is a glue-tempera and gold on canvas painting, measuring 57.2 by 45.7 cm and dating to 1495-1505. Painted by Andrea Mantegna, it is now in the Metropolitan Museum of Art in New York.Its use of canvas and its stylistic similarities to works such as the Trivulzio Madonna date it to the painter's late period. The fruit hedge in the background recalls the Trivulzio Madonna as well as the Madonna della Vittoria. It may have been the work seen in the Ospedale degli Incurabili in Venice by Marco Boschini and described as similar to the Holy Family with a Female Saint .It was sold in 1902 by Agosto d'Aiuti, a Neapolitan count, to an English antiquarian in London. After passing through various owners, it was acquired in 1912 by the American collector Benjamin Altman, who bequeathed it to the Metropolitan Museum in 1913

Prompt: アルトマンの聖母に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Andrea Mantegna
Benjamin Altman
Madonna della Vittoria
Marco Boschini
Metropolitan Museum of Art
Trivulzio Madonna


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アルトマンの聖母

The Altman Madonna or Holy Family with St Mary Magdalene is a glue-tempera and gold on canvas painting, measuring 57.2 by 45.7 cm and dating to 1495-1505. Painted by Andrea Mantegna, it is now in the Metropolitan Museum of Art in New York.Its use of canvas and its stylistic similarities to works such as the Trivulzio Madonna date it to the painter's late period. The fruit hedge in the background recalls the Trivulzio Madonna as well as the Madonna della Vittoria. It may have been the work seen in the Ospedale degli Incurabili in Venice by Marco Boschini and described as similar to the Holy Family with a Female Saint .It was sold in 1902 by Agosto d'Aiuti, a Neapolitan count, to an English antiquarian in London. After passing through various owners, it was acquired in 1912 by the American collector Benjamin Altman, who bequeathed it to the Metropolitan Museum in 1913

Prompt: アルトマンの聖母の抽象を説明してください。英語で出力して下さい。

Andrea Mantegna
Benjamin Altman
Madonna della Vittoria
Marco Boschini
Metropolitan Museum of Art
Trivulzio Madonna


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アルトマンの聖母

The Altman Madonna or Holy Family with St Mary Magdalene is a glue-tempera and gold on canvas painting, measuring 57.2 by 45.7 cm and dating to 1495-1505. Painted by Andrea Mantegna, it is now in the Metropolitan Museum of Art in New York.Its use of canvas and its stylistic similarities to works such as the Trivulzio Madonna date it to the painter's late period. The fruit hedge in the background recalls the Trivulzio Madonna as well as the Madonna della Vittoria. It may have been the work seen in the Ospedale degli Incurabili in Venice by Marco Boschini and described as similar to the Holy Family with a Female Saint .It was sold in 1902 by Agosto d'Aiuti, a Neapolitan count, to an English antiquarian in London. After passing through various owners, it was acquired in 1912 by the American collector Benjamin Altman, who bequeathed it to the Metropolitan Museum in 1913

Prompt: アルトマンの聖母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。

Andrea Mantegna
Benjamin Altman
Madonna della Vittoria
Marco Boschini
Metropolitan Museum of Art
Trivulzio Madonna


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アルトマンの聖母

The Altman Madonna or Holy Family with St Mary Magdalene is a glue-tempera and gold on canvas painting, measuring 57.2 by 45.7 cm and dating to 1495-1505. Painted by Andrea Mantegna, it is now in the Metropolitan Museum of Art in New York.Its use of canvas and its stylistic similarities to works such as the Trivulzio Madonna date it to the painter's late period. The fruit hedge in the background recalls the Trivulzio Madonna as well as the Madonna della Vittoria. It may have been the work seen in the Ospedale degli Incurabili in Venice by Marco Boschini and described as similar to the Holy Family with a Female Saint .It was sold in 1902 by Agosto d'Aiuti, a Neapolitan count, to an English antiquarian in London. After passing through various owners, it was acquired in 1912 by the American collector Benjamin Altman, who bequeathed it to the Metropolitan Museum in 1913

Prompt: アルトマンの聖母に関して、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。

Andrea Mantegna
Benjamin Altman
Madonna della Vittoria
Marco Boschini
Metropolitan Museum of Art
Trivulzio Madonna


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鏡の前の裸の若い女性

Naked Young Woman in Front of a Mirror is a painting in oil on poplar panel by the Italian Renaissance artist Giovanni Bellini. Dating to 1515, it was one of his last works, showing him responding to the tonalism introduced by Giorgione. It was acquired by James Hamilton, 1st Duke of Hamilton in 1638 and remained with his family until 1659, when it was acquired in Brussels by Leopold William of Austria. It is now in the Kunsthistorisches Museum in Vienna.

Prompt: 鏡の前の裸の若い女性に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Brussels
Giorgione
Giovanni Bellini
Italian Renaissance
James Hamilton, 1st Duke of Hamilton
Kunsthistorisches Museum
Vienna


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鏡の前の裸の若い女性

Naked Young Woman in Front of a Mirror is a painting in oil on poplar panel by the Italian Renaissance artist Giovanni Bellini. Dating to 1515, it was one of his last works, showing him responding to the tonalism introduced by Giorgione. It was acquired by James Hamilton, 1st Duke of Hamilton in 1638 and remained with his family until 1659, when it was acquired in Brussels by Leopold William of Austria. It is now in the Kunsthistorisches Museum in Vienna.

Prompt: 鏡の前の裸の若い女性の抽象を説明してください。英語で出力して下さい。

Brussels
Giorgione
Giovanni Bellini
Italian Renaissance
James Hamilton, 1st Duke of Hamilton
Kunsthistorisches Museum
Vienna


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鏡の前の裸の若い女性

Naked Young Woman in Front of a Mirror is a painting in oil on poplar panel by the Italian Renaissance artist Giovanni Bellini. Dating to 1515, it was one of his last works, showing him responding to the tonalism introduced by Giorgione. It was acquired by James Hamilton, 1st Duke of Hamilton in 1638 and remained with his family until 1659, when it was acquired in Brussels by Leopold William of Austria. It is now in the Kunsthistorisches Museum in Vienna.

Prompt: 鏡の前の裸の若い女性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。

Brussels
Giorgione
Giovanni Bellini
Italian Renaissance
James Hamilton, 1st Duke of Hamilton
Kunsthistorisches Museum
Vienna


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鏡の前の裸の若い女性

Naked Young Woman in Front of a Mirror is a painting in oil on poplar panel by the Italian Renaissance artist Giovanni Bellini. Dating to 1515, it was one of his last works, showing him responding to the tonalism introduced by Giorgione. It was acquired by James Hamilton, 1st Duke of Hamilton in 1638 and remained with his family until 1659, when it was acquired in Brussels by Leopold William of Austria. It is now in the Kunsthistorisches Museum in Vienna.

Prompt: 鏡の前の裸の若い女性に関して、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。

Brussels
Giorgione
Giovanni Bellini
Italian Renaissance
James Hamilton, 1st Duke of Hamilton
Kunsthistorisches Museum
Vienna


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鏡の前の裸の若い女性

category:1515 paintingscategory:Paintings by Giovanni Bellini

Prompt: 鏡の前の裸の若い女性に焦点を当てて、その参考文献を説明してください。英語で出力して下さい。


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鏡の前の裸の若い女性

category:1515 paintingscategory:Paintings by Giovanni Bellini

Prompt: 鏡の前の裸の若い女性の参考文献を説明してください。英語で出力して下さい。


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鏡の前の裸の若い女性

category:1515 paintingscategory:Paintings by Giovanni Bellini

Prompt: 鏡の前の裸の若い女性はどのように参考文献を説明していますか？英語で出力して下さい。


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鏡の前の裸の若い女性

category:1515 paintingscategory:Paintings by Giovanni Bellini

Prompt: 鏡の前の裸の若い女性に関して、どのように参考文献が議論されていますか？英語で出力して下さい。


section

アポロンとダプニス

Apollo and Daphnis is a c.1483 mythological painting by Perugino. It was sold to the Louvre in Paris in 1883, where it still hangs and in whose catalogue it was known as Apollo and Marsyas. By the 1880s it had become misattributed to Raphael.It one of the most notable works commissioned from the artist by Lorenzo de' Medici. In the background is a rural scene with a city or castle, a three-arch bridge, trees typical of Perugino, hills and a river. The two nude figures in the foreground allude to that in ancient Greek and Roman art - this and the other classical references demonstrate how the work is intended to be decoded by the humanist classical elite of Florence. The standing contrapposto figure is the god Apollo, carrying a baton in his left hand and with a bow and quiver behind him. His pose draws on that of Hermes in a sculpture of Hermes and Dionysius by Praxiteles, now best known from the copy Hermes and the Infant Dionysus rediscovered in the 19th century.The identity of the seated flute-playing figure on the left is debated - it may be Marsyas, but that character is usually depicted as a satyr and so it may instead by Daphnis, a young shepherd who died of love for Apollo. Daphnis is the Greek form of the name urus, possibly linking the work to Lorenzo de' Medici. His pose draws on a sculpture of Hermes by Lysippus, best known from the Seated Hermes discovered in 1758.

Prompt: アポロンとダプニスに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Apollo and Marsyas
Daphnis
Hermes and the Infant Dionysus
Lorenzo de' Medici
Louvre
Marsyas
Praxiteles
Raphael
Seated Hermes


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アポロンとダプニス

Apollo and Daphnis is a c.1483 mythological painting by Perugino. It was sold to the Louvre in Paris in 1883, where it still hangs and in whose catalogue it was known as Apollo and Marsyas. By the 1880s it had become misattributed to Raphael.It one of the most notable works commissioned from the artist by Lorenzo de' Medici. In the background is a rural scene with a city or castle, a three-arch bridge, trees typical of Perugino, hills and a river. The two nude figures in the foreground allude to that in ancient Greek and Roman art - this and the other classical references demonstrate how the work is intended to be decoded by the humanist classical elite of Florence. The standing contrapposto figure is the god Apollo, carrying a baton in his left hand and with a bow and quiver behind him. His pose draws on that of Hermes in a sculpture of Hermes and Dionysius by Praxiteles, now best known from the copy Hermes and the Infant Dionysus rediscovered in the 19th century.The identity of the seated flute-playing figure on the left is debated - it may be Marsyas, but that character is usually depicted as a satyr and so it may instead by Daphnis, a young shepherd who died of love for Apollo. Daphnis is the Greek form of the name urus, possibly linking the work to Lorenzo de' Medici. His pose draws on a sculpture of Hermes by Lysippus, best known from the Seated Hermes discovered in 1758.

Prompt: アポロンとダプニスの抽象を説明してください。英語で出力して下さい。

Apollo and Marsyas
Daphnis
Hermes and the Infant Dionysus
Lorenzo de' Medici
Louvre
Marsyas
Praxiteles
Raphael
Seated Hermes


section

アポロンとダプニス

Apollo and Daphnis is a c.1483 mythological painting by Perugino. It was sold to the Louvre in Paris in 1883, where it still hangs and in whose catalogue it was known as Apollo and Marsyas. By the 1880s it had become misattributed to Raphael.It one of the most notable works commissioned from the artist by Lorenzo de' Medici. In the background is a rural scene with a city or castle, a three-arch bridge, trees typical of Perugino, hills and a river. The two nude figures in the foreground allude to that in ancient Greek and Roman art - this and the other classical references demonstrate how the work is intended to be decoded by the humanist classical elite of Florence. The standing contrapposto figure is the god Apollo, carrying a baton in his left hand and with a bow and quiver behind him. His pose draws on that of Hermes in a sculpture of Hermes and Dionysius by Praxiteles, now best known from the copy Hermes and the Infant Dionysus rediscovered in the 19th century.The identity of the seated flute-playing figure on the left is debated - it may be Marsyas, but that character is usually depicted as a satyr and so it may instead by Daphnis, a young shepherd who died of love for Apollo. Daphnis is the Greek form of the name urus, possibly linking the work to Lorenzo de' Medici. His pose draws on a sculpture of Hermes by Lysippus, best known from the Seated Hermes discovered in 1758.

Prompt: アポロンとダプニス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。

Apollo and Marsyas
Daphnis
Hermes and the Infant Dionysus
Lorenzo de' Medici
Louvre
Marsyas
Praxiteles
Raphael
Seated Hermes


section

アポロンとダプニス

Apollo and Daphnis is a c.1483 mythological painting by Perugino. It was sold to the Louvre in Paris in 1883, where it still hangs and in whose catalogue it was known as Apollo and Marsyas. By the 1880s it had become misattributed to Raphael.It one of the most notable works commissioned from the artist by Lorenzo de' Medici. In the background is a rural scene with a city or castle, a three-arch bridge, trees typical of Perugino, hills and a river. The two nude figures in the foreground allude to that in ancient Greek and Roman art - this and the other classical references demonstrate how the work is intended to be decoded by the humanist classical elite of Florence. The standing contrapposto figure is the god Apollo, carrying a baton in his left hand and with a bow and quiver behind him. His pose draws on that of Hermes in a sculpture of Hermes and Dionysius by Praxiteles, now best known from the copy Hermes and the Infant Dionysus rediscovered in the 19th century.The identity of the seated flute-playing figure on the left is debated - it may be Marsyas, but that character is usually depicted as a satyr and so it may instead by Daphnis, a young shepherd who died of love for Apollo. Daphnis is the Greek form of the name urus, possibly linking the work to Lorenzo de' Medici. His pose draws on a sculpture of Hermes by Lysippus, best known from the Seated Hermes discovered in 1758.

Prompt: アポロンとダプニスに関して、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。

Apollo and Marsyas
Daphnis
Hermes and the Infant Dionysus
Lorenzo de' Medici
Louvre
Marsyas
Praxiteles
Raphael
Seated Hermes


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アポロンとダプニス

Vittoria Garibaldi, « Perugino », in Pittori del Rinascimento, Florence, Scala, 2004 .  Pierluigi De Vecchi and Elda Cerchiari, I tempi dell'arte, vol. 2, Milan, Bompiani, 1999 .  Stefano Zuffi, Il Quattrocento, Milan, Electa, 2004 .

Prompt: アポロンとダプニスに焦点を当てて、その参考文献を説明してください。英語で出力して下さい。


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アポロンとダプニス

Vittoria Garibaldi, « Perugino », in Pittori del Rinascimento, Florence, Scala, 2004 .  Pierluigi De Vecchi and Elda Cerchiari, I tempi dell'arte, vol. 2, Milan, Bompiani, 1999 .  Stefano Zuffi, Il Quattrocento, Milan, Electa, 2004 .

Prompt: アポロンとダプニスの参考文献を説明してください。英語で出力して下さい。


section

アポロンとダプニス

Vittoria Garibaldi, « Perugino », in Pittori del Rinascimento, Florence, Scala, 2004 .  Pierluigi De Vecchi and Elda Cerchiari, I tempi dell'arte, vol. 2, Milan, Bompiani, 1999 .  Stefano Zuffi, Il Quattrocento, Milan, Electa, 2004 .

Prompt: アポロンとダプニスはどのように参考文献を説明していますか？英語で出力して下さい。


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アポロンとダプニス

Vittoria Garibaldi, « Perugino », in Pittori del Rinascimento, Florence, Scala, 2004 .  Pierluigi De Vecchi and Elda Cerchiari, I tempi dell'arte, vol. 2, Milan, Bompiani, 1999 .  Stefano Zuffi, Il Quattrocento, Milan, Electa, 2004 .

Prompt: アポロンとダプニスに関して、どのように参考文献が議論されていますか？英語で出力して下さい。


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エレオノーラ・ゴンザーガの肖像

Portrait of Eleonora Gonzaga della Rovere

Portrait of Eleonora Gonzaga is a 1538 painting by Titian, now in the Uffizi in Florence alongside its pair, Portrait of Francesco Maria della Rovere, showing Eleonora's husband. It formed the prototype for some of his later portraits, such as that of  Isabella of Portugal.

Prompt: エレオノーラ・ゴンザーガ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。


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エレオノーラ・ゴンザーガの肖像

Portrait of Eleonora Gonzaga della Rovere

Portrait of Eleonora Gonzaga is a 1538 painting by Titian, now in the Uffizi in Florence alongside its pair, Portrait of Francesco Maria della Rovere, showing Eleonora's husband. It formed the prototype for some of his later portraits, such as that of  Isabella of Portugal.

Prompt: エレオノーラ・ゴンザーガ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。


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エレオノーラ・ゴンザーガの肖像

Portrait of Eleonora Gonzaga della Rovere

Portrait of Eleonora Gonzaga is a 1538 painting by Titian, now in the Uffizi in Florence alongside its pair, Portrait of Francesco Maria della Rovere, showing Eleonora's husband. It formed the prototype for some of his later portraits, such as that of  Isabella of Portugal.

Prompt: エレオノーラ・ゴンザーガ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。


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エレオノーラ・ゴンザーガの肖像

Portrait of Eleonora Gonzaga della Rovere

Portrait of Eleonora Gonzaga is a 1538 painting by Titian, now in the Uffizi in Florence alongside its pair, Portrait of Francesco Maria della Rovere, showing Eleonora's husband. It formed the prototype for some of his later portraits, such as that of  Isabella of Portugal.

Prompt: エレオノーラ・ゴンザーガの肖像に関して、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。


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エレオノーラ・ゴンザーガの肖像

Portrait of Eleonora Gonzaga della Rovere

Prompt: エレオノーラ・ゴンザーガ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。


section

エレオノーラ・ゴンザーガの肖像

Portrait of Eleonora Gonzaga della Rovere

Prompt: エレオノーラ・ゴンザーガ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。


section

エレオノーラ・ゴンザーガの肖像

Portrait of Eleonora Gonzaga della Rovere

Prompt: エレオノーラ・ゴンザーガ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。


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エレオノーラ・ゴンザーガの肖像

Portrait of Eleonora Gonzaga della Rovere

Prompt: エレオノーラ・ゴンザーガの肖像に関して、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。