section

盲人の寓話

type             = Distemper on linen canvasheight_metric    = 86width_metric     = 154city             = Naples, Italymuseum           = Museo di Capodimonte}}The Blind Leading the Blind, Blind, or The Parable of the Blind  is a painting by the Netherlandish Renaissance artist Pieter Bruegel the Elder, completed in 1568.  Executed in distemper on linen canvas, it measures .  It depicts the Biblical parable of the blind leading the blind from the Gospel of Matthew 15:14, and is in the collection of the Museo di Capodimonte in Naples, Italy.The painting reflects Bruegel's mastery of observation. Each figure has a different eye affliction, including corneal leukoma, atrophy of globe and removed eyes. The men hold their heads aloft to make better use of their other senses. The diagonal composition reinforces the off-kilter motion of the six figures falling in progression. It is considered a masterwork for its accurate detail and composition. Copies include a larger version by Bruegel's son Pieter Brueghel the Younger, and the work has inspired literature such as poetry by Charles Baudelaire and William Carlos Williams, and a novel by Gert Hofmann.Bruegel painted The Blind the year before his death.  It has a bitter, sorrowful tone, which may be related to the establishment of the Council of Troubles in 1567 by the government of the Spanish Netherlands.  The council ordered mass arrests and executions to enforce Spanish rule and suppress Protestantism.  The placement of St. Anna's Church of the village of Sint-Anna-Pede has led to both pro- and anti-Catholic interpretations, though it is not clear that the painting was meant as a political statement.

Prompt: 盲人の寓話に関して、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。

Charles Baudelaire
Council of Troubles
Gert Hofmann
Gospel of Matthew
Museo di Capodimonte
Naples
Parable
Pieter Bruegel the Elder
Pieter Brueghel the Younger
Sint-Anna-Pede
Spanish Netherlands
William Carlos Williams


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盲人の寓話

The painting depicts a procession of six blind, disfigured men. They pass along a path bordered by a river on one side and a village with a church on the other.  The leader of the group has fallen on his back into a ditch and, because they are all linked by their staffs, seems about to drag his companions down with him.  A cowherd stands in the background.leftBruegel based the work on the Biblical parable of the blind leading the blind from Matthew 15:14, }} in which Christ refers to the Pharisees.  According to art critic Margaret Sullivan, Bruegel's audience was likely as familiar with classical literature as with the Bible. Erasmus had published his Adagia two years before Bruegel's painting, and it contained the quotation ""  by Roman poet Horace.  Bruegel expands the two blind men in the parable to six; they are well dressed, rather than wearing the peasant clothing that typifies his late work.  The first blind man's face is not visible; the second twists his head as he falls, perhaps to avoid landing face-first. The shinguard-clad third man, on his toes with knees bent and face to the sky, shares a staff with the second, by which he is being pulled down. The others have yet to stumble, but the same fate seems implied.The faces and bodies of the blind men, and background detail including the church, are rendered in exceptionally fine detail.  The backward-falling posture of the guide demonstrates Bruegel's mastery of foreshortening.  Bruegel's settings tend to be fictional, }} but that of The Blind Leading the Blind has been identified as the village of Sint-Anna-Pede, and the church as St. Anna's Church.

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


section

盲人の寓話

The painting depicts a procession of six blind, disfigured men. They pass along a path bordered by a river on one side and a village with a church on the other.  The leader of the group has fallen on his back into a ditch and, because they are all linked by their staffs, seems about to drag his companions down with him.  A cowherd stands in the background.leftBruegel based the work on the Biblical parable of the blind leading the blind from Matthew 15:14, }} in which Christ refers to the Pharisees.  According to art critic Margaret Sullivan, Bruegel's audience was likely as familiar with classical literature as with the Bible. Erasmus had published his Adagia two years before Bruegel's painting, and it contained the quotation ""  by Roman poet Horace.  Bruegel expands the two blind men in the parable to six; they are well dressed, rather than wearing the peasant clothing that typifies his late work.  The first blind man's face is not visible; the second twists his head as he falls, perhaps to avoid landing face-first. The shinguard-clad third man, on his toes with knees bent and face to the sky, shares a staff with the second, by which he is being pulled down. The others have yet to stumble, but the same fate seems implied.The faces and bodies of the blind men, and background detail including the church, are rendered in exceptionally fine detail.  The backward-falling posture of the guide demonstrates Bruegel's mastery of foreshortening.  Bruegel's settings tend to be fictional, }} but that of The Blind Leading the Blind has been identified as the village of Sint-Anna-Pede, and the church as St. Anna's Church.

Prompt: 盲人の寓話の説明を説明してください。英語で出力して下さい。


section

盲人の寓話

The painting depicts a procession of six blind, disfigured men. They pass along a path bordered by a river on one side and a village with a church on the other.  The leader of the group has fallen on his back into a ditch and, because they are all linked by their staffs, seems about to drag his companions down with him.  A cowherd stands in the background.leftBruegel based the work on the Biblical parable of the blind leading the blind from Matthew 15:14, }} in which Christ refers to the Pharisees.  According to art critic Margaret Sullivan, Bruegel's audience was likely as familiar with classical literature as with the Bible. Erasmus had published his Adagia two years before Bruegel's painting, and it contained the quotation ""  by Roman poet Horace.  Bruegel expands the two blind men in the parable to six; they are well dressed, rather than wearing the peasant clothing that typifies his late work.  The first blind man's face is not visible; the second twists his head as he falls, perhaps to avoid landing face-first. The shinguard-clad third man, on his toes with knees bent and face to the sky, shares a staff with the second, by which he is being pulled down. The others have yet to stumble, but the same fate seems implied.The faces and bodies of the blind men, and background detail including the church, are rendered in exceptionally fine detail.  The backward-falling posture of the guide demonstrates Bruegel's mastery of foreshortening.  Bruegel's settings tend to be fictional, }} but that of The Blind Leading the Blind has been identified as the village of Sint-Anna-Pede, and the church as St. Anna's Church.

Prompt: 盲人の寓話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

盲人の寓話

The painting depicts a procession of six blind, disfigured men. They pass along a path bordered by a river on one side and a village with a church on the other.  The leader of the group has fallen on his back into a ditch and, because they are all linked by their staffs, seems about to drag his companions down with him.  A cowherd stands in the background.leftBruegel based the work on the Biblical parable of the blind leading the blind from Matthew 15:14, }} in which Christ refers to the Pharisees.  According to art critic Margaret Sullivan, Bruegel's audience was likely as familiar with classical literature as with the Bible. Erasmus had published his Adagia two years before Bruegel's painting, and it contained the quotation ""  by Roman poet Horace.  Bruegel expands the two blind men in the parable to six; they are well dressed, rather than wearing the peasant clothing that typifies his late work.  The first blind man's face is not visible; the second twists his head as he falls, perhaps to avoid landing face-first. The shinguard-clad third man, on his toes with knees bent and face to the sky, shares a staff with the second, by which he is being pulled down. The others have yet to stumble, but the same fate seems implied.The faces and bodies of the blind men, and background detail including the church, are rendered in exceptionally fine detail.  The backward-falling posture of the guide demonstrates Bruegel's mastery of foreshortening.  Bruegel's settings tend to be fictional, }} but that of The Blind Leading the Blind has been identified as the village of Sint-Anna-Pede, and the church as St. Anna's Church.

Prompt: 盲人の寓話に関して、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

盲人の寓話

Sixteenth-century Europe was undergoing many societal changes: the Protestant Reformation and its rejection of public religious imagery; Renaissance humanism and its emphasis on empiricism at the expense of religious faith; and the growth of the middle class amidst the rise of mercantilism.  It was a time of rapid advances in learning and knowledge, and a move towards the empirical sciences—the age of the heliocentric theory of Copernicus and of Gutenberg's printing presses.  The cartography of Ortelius influenced the painting of landscapes, and the advances Vesalius brought to the study of anatomy via the direct observation of dissected bodies, motivated artists to pay greater attention to the accuracy of the anatomy in their works.Art was now traded in open markets; artists sought to distinguish themselves with subjects different from traditional noble, mythological, and Biblical ones, and developed new, realistic techniques based on empirical observation.  Classical literature provided precedents for dealing with "low" subjects in art. Genre art and its depiction of ordinary people and everyday life emerged against this background.Pieter Bruegel the Elder began his career illustrating landscapes and fantastic scenes in a dense style that earned him a reputation as artistic heir to Hieronymus Bosch.  He soon came to follow the example of another master, Pieter Aertsen, who had made a name for himself in the 1550s depicting everyday scenes in a highly realistic style, such as the detailed array of meat products that dominate his large Butcher's Stall of 1551. Bruegel's subjects became more quotidian and his style observational.  He achieved fame for detailed, accurate and realistic portrayals of peasants, with whom his paintings were popular.  He painted on linen canvas and oak panel, and avoided scenes of magnificence and portraits of nobility or royalty.  The peasants Bruegel at first depicted were featureless and undifferentiated; as his work matured, their physiognomy became markedly more detailed and expressive.In 1563, Bruegel married Mayken, the daughter of his teacher Pieter Coecke van Aelst, and moved to Brussels, the seat of government in the Spanish Netherlands . In 1567 the governor of the Netherlands, the Duke of Alba, established the Council of Troubles  to suppress non-Catholic religions and enforce Spanish rule, leading to mass arrests and executions.   Whether Bruegel had Calvinist sympathies or intended a political message in The Blind is not clear, but the evidence indicates he likely held views critical of the Catholic Church.  A bitter, sorrowful tone characterizes his last works, such as The Blind and The Magpie on the Gallows.In ancient Greece the blind were depicted as having received gifts from the gods, and blind singers were held in high regard.  In mediaeval Europe, the blind were depicted as the subjects of miracles, such as Bartimaeus in the healing the blind near Jericho in Mark 10:46–52. }}  Following the Reformation, painted depictions of saints and miracles fell out of favour in Protestant areas.  In Catholic thought, charitable works of mercy, such as giving alms to the blind and poor, were good works which, together with faith, helped the salvation of the doer. However, the Protestant doctrine of sola fide rejected the efficacy of works in achieving salvation, prescribing that it depended on faith alone .  The status of charity for the poor and infirm diminished, and beggars saw their circumstances deteriorate.  In popular literature of the time, the blind were depicted as rogues or targets of pranks.  The parable of the blind leading the blind also appears as one of the illustrated proverbs in Bruegel's Netherlandish Proverbs ."<br /> }}

Prompt: 盲人の寓話に焦点を当てて、その背景を説明してください。英語で出力して下さい。

Brussels
Catholic Church
Council of Troubles
Genre art
Hieronymus Bosch
Netherlandish Proverbs
Pieter Aertsen
Pieter Bruegel the Elder
Pieter Coecke van Aelst
Reformation
Renaissance humanism
Spanish Netherlands
The Magpie on the Gallows


section

盲人の寓話

Sixteenth-century Europe was undergoing many societal changes: the Protestant Reformation and its rejection of public religious imagery; Renaissance humanism and its emphasis on empiricism at the expense of religious faith; and the growth of the middle class amidst the rise of mercantilism.  It was a time of rapid advances in learning and knowledge, and a move towards the empirical sciences—the age of the heliocentric theory of Copernicus and of Gutenberg's printing presses.  The cartography of Ortelius influenced the painting of landscapes, and the advances Vesalius brought to the study of anatomy via the direct observation of dissected bodies, motivated artists to pay greater attention to the accuracy of the anatomy in their works.Art was now traded in open markets; artists sought to distinguish themselves with subjects different from traditional noble, mythological, and Biblical ones, and developed new, realistic techniques based on empirical observation.  Classical literature provided precedents for dealing with "low" subjects in art. Genre art and its depiction of ordinary people and everyday life emerged against this background.Pieter Bruegel the Elder began his career illustrating landscapes and fantastic scenes in a dense style that earned him a reputation as artistic heir to Hieronymus Bosch.  He soon came to follow the example of another master, Pieter Aertsen, who had made a name for himself in the 1550s depicting everyday scenes in a highly realistic style, such as the detailed array of meat products that dominate his large Butcher's Stall of 1551. Bruegel's subjects became more quotidian and his style observational.  He achieved fame for detailed, accurate and realistic portrayals of peasants, with whom his paintings were popular.  He painted on linen canvas and oak panel, and avoided scenes of magnificence and portraits of nobility or royalty.  The peasants Bruegel at first depicted were featureless and undifferentiated; as his work matured, their physiognomy became markedly more detailed and expressive.In 1563, Bruegel married Mayken, the daughter of his teacher Pieter Coecke van Aelst, and moved to Brussels, the seat of government in the Spanish Netherlands . In 1567 the governor of the Netherlands, the Duke of Alba, established the Council of Troubles  to suppress non-Catholic religions and enforce Spanish rule, leading to mass arrests and executions.   Whether Bruegel had Calvinist sympathies or intended a political message in The Blind is not clear, but the evidence indicates he likely held views critical of the Catholic Church.  A bitter, sorrowful tone characterizes his last works, such as The Blind and The Magpie on the Gallows.In ancient Greece the blind were depicted as having received gifts from the gods, and blind singers were held in high regard.  In mediaeval Europe, the blind were depicted as the subjects of miracles, such as Bartimaeus in the healing the blind near Jericho in Mark 10:46–52. }}  Following the Reformation, painted depictions of saints and miracles fell out of favour in Protestant areas.  In Catholic thought, charitable works of mercy, such as giving alms to the blind and poor, were good works which, together with faith, helped the salvation of the doer. However, the Protestant doctrine of sola fide rejected the efficacy of works in achieving salvation, prescribing that it depended on faith alone .  The status of charity for the poor and infirm diminished, and beggars saw their circumstances deteriorate.  In popular literature of the time, the blind were depicted as rogues or targets of pranks.  The parable of the blind leading the blind also appears as one of the illustrated proverbs in Bruegel's Netherlandish Proverbs ."<br /> }}

Prompt: 盲人の寓話の背景を説明してください。英語で出力して下さい。

Brussels
Catholic Church
Council of Troubles
Genre art
Hieronymus Bosch
Netherlandish Proverbs
Pieter Aertsen
Pieter Bruegel the Elder
Pieter Coecke van Aelst
Reformation
Renaissance humanism
Spanish Netherlands
The Magpie on the Gallows


section

盲人の寓話

Sixteenth-century Europe was undergoing many societal changes: the Protestant Reformation and its rejection of public religious imagery; Renaissance humanism and its emphasis on empiricism at the expense of religious faith; and the growth of the middle class amidst the rise of mercantilism.  It was a time of rapid advances in learning and knowledge, and a move towards the empirical sciences—the age of the heliocentric theory of Copernicus and of Gutenberg's printing presses.  The cartography of Ortelius influenced the painting of landscapes, and the advances Vesalius brought to the study of anatomy via the direct observation of dissected bodies, motivated artists to pay greater attention to the accuracy of the anatomy in their works.Art was now traded in open markets; artists sought to distinguish themselves with subjects different from traditional noble, mythological, and Biblical ones, and developed new, realistic techniques based on empirical observation.  Classical literature provided precedents for dealing with "low" subjects in art. Genre art and its depiction of ordinary people and everyday life emerged against this background.Pieter Bruegel the Elder began his career illustrating landscapes and fantastic scenes in a dense style that earned him a reputation as artistic heir to Hieronymus Bosch.  He soon came to follow the example of another master, Pieter Aertsen, who had made a name for himself in the 1550s depicting everyday scenes in a highly realistic style, such as the detailed array of meat products that dominate his large Butcher's Stall of 1551. Bruegel's subjects became more quotidian and his style observational.  He achieved fame for detailed, accurate and realistic portrayals of peasants, with whom his paintings were popular.  He painted on linen canvas and oak panel, and avoided scenes of magnificence and portraits of nobility or royalty.  The peasants Bruegel at first depicted were featureless and undifferentiated; as his work matured, their physiognomy became markedly more detailed and expressive.In 1563, Bruegel married Mayken, the daughter of his teacher Pieter Coecke van Aelst, and moved to Brussels, the seat of government in the Spanish Netherlands . In 1567 the governor of the Netherlands, the Duke of Alba, established the Council of Troubles  to suppress non-Catholic religions and enforce Spanish rule, leading to mass arrests and executions.   Whether Bruegel had Calvinist sympathies or intended a political message in The Blind is not clear, but the evidence indicates he likely held views critical of the Catholic Church.  A bitter, sorrowful tone characterizes his last works, such as The Blind and The Magpie on the Gallows.In ancient Greece the blind were depicted as having received gifts from the gods, and blind singers were held in high regard.  In mediaeval Europe, the blind were depicted as the subjects of miracles, such as Bartimaeus in the healing the blind near Jericho in Mark 10:46–52. }}  Following the Reformation, painted depictions of saints and miracles fell out of favour in Protestant areas.  In Catholic thought, charitable works of mercy, such as giving alms to the blind and poor, were good works which, together with faith, helped the salvation of the doer. However, the Protestant doctrine of sola fide rejected the efficacy of works in achieving salvation, prescribing that it depended on faith alone .  The status of charity for the poor and infirm diminished, and beggars saw their circumstances deteriorate.  In popular literature of the time, the blind were depicted as rogues or targets of pranks.  The parable of the blind leading the blind also appears as one of the illustrated proverbs in Bruegel's Netherlandish Proverbs ."<br /> }}

Prompt: 盲人の寓話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。

Brussels
Catholic Church
Council of Troubles
Genre art
Hieronymus Bosch
Netherlandish Proverbs
Pieter Aertsen
Pieter Bruegel the Elder
Pieter Coecke van Aelst
Reformation
Renaissance humanism
Spanish Netherlands
The Magpie on the Gallows


section

盲人の寓話

Sixteenth-century Europe was undergoing many societal changes: the Protestant Reformation and its rejection of public religious imagery; Renaissance humanism and its emphasis on empiricism at the expense of religious faith; and the growth of the middle class amidst the rise of mercantilism.  It was a time of rapid advances in learning and knowledge, and a move towards the empirical sciences—the age of the heliocentric theory of Copernicus and of Gutenberg's printing presses.  The cartography of Ortelius influenced the painting of landscapes, and the advances Vesalius brought to the study of anatomy via the direct observation of dissected bodies, motivated artists to pay greater attention to the accuracy of the anatomy in their works.Art was now traded in open markets; artists sought to distinguish themselves with subjects different from traditional noble, mythological, and Biblical ones, and developed new, realistic techniques based on empirical observation.  Classical literature provided precedents for dealing with "low" subjects in art. Genre art and its depiction of ordinary people and everyday life emerged against this background.Pieter Bruegel the Elder began his career illustrating landscapes and fantastic scenes in a dense style that earned him a reputation as artistic heir to Hieronymus Bosch.  He soon came to follow the example of another master, Pieter Aertsen, who had made a name for himself in the 1550s depicting everyday scenes in a highly realistic style, such as the detailed array of meat products that dominate his large Butcher's Stall of 1551. Bruegel's subjects became more quotidian and his style observational.  He achieved fame for detailed, accurate and realistic portrayals of peasants, with whom his paintings were popular.  He painted on linen canvas and oak panel, and avoided scenes of magnificence and portraits of nobility or royalty.  The peasants Bruegel at first depicted were featureless and undifferentiated; as his work matured, their physiognomy became markedly more detailed and expressive.In 1563, Bruegel married Mayken, the daughter of his teacher Pieter Coecke van Aelst, and moved to Brussels, the seat of government in the Spanish Netherlands . In 1567 the governor of the Netherlands, the Duke of Alba, established the Council of Troubles  to suppress non-Catholic religions and enforce Spanish rule, leading to mass arrests and executions.   Whether Bruegel had Calvinist sympathies or intended a political message in The Blind is not clear, but the evidence indicates he likely held views critical of the Catholic Church.  A bitter, sorrowful tone characterizes his last works, such as The Blind and The Magpie on the Gallows.In ancient Greece the blind were depicted as having received gifts from the gods, and blind singers were held in high regard.  In mediaeval Europe, the blind were depicted as the subjects of miracles, such as Bartimaeus in the healing the blind near Jericho in Mark 10:46–52. }}  Following the Reformation, painted depictions of saints and miracles fell out of favour in Protestant areas.  In Catholic thought, charitable works of mercy, such as giving alms to the blind and poor, were good works which, together with faith, helped the salvation of the doer. However, the Protestant doctrine of sola fide rejected the efficacy of works in achieving salvation, prescribing that it depended on faith alone .  The status of charity for the poor and infirm diminished, and beggars saw their circumstances deteriorate.  In popular literature of the time, the blind were depicted as rogues or targets of pranks.  The parable of the blind leading the blind also appears as one of the illustrated proverbs in Bruegel's Netherlandish Proverbs ."<br /> }}

Prompt: 盲人の寓話に関して、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。

Brussels
Catholic Church
Council of Troubles
Genre art
Hieronymus Bosch
Netherlandish Proverbs
Pieter Aertsen
Pieter Bruegel the Elder
Pieter Coecke van Aelst
Reformation
Renaissance humanism
Spanish Netherlands
The Magpie on the Gallows


section

盲人の寓話

Charles Bouleau wrote of the tension in Bruegel's compositional rhythms.  The picture is divided into nine equal parts divided by a set of parallel oblique lines.  These are divided by another network of lines at constant angles to the first.  The composition invites the reader to follow the action rather than dwell on the individual figures.  The blind men resemble each other in dress and facial features, and they appear as if they succeed one another in a single movement culminating in a fall, beginning on the left with "rambling, then hesitation, alarm, stumbling, and finally falling".  The succession of heads follows a curve, and the further the succession, the greater the space between heads, suggesting increasing speed.  The steep roofs of the background houses contribute to the composition's feeling of motion.Art historian Gustav Glück noted incongruities in that the beggars are well-dressed and carry staves and full purses.  Academics Kenneth C. Lindsay and Bernard Huppé suggest Bruegel may have implied that the blind men represent false priests who ignored Christ's admonitions not to carry gold, purses, or staves; }} the leader carries a hurdy-gurdy, a musical instrument associated with beggars in Bruegel's time; this perhaps implies a false minstrel, one who sings praises not for God.The church in the background, identified as St. Anna's Church at Dilbeek in modern Belgium, has sparked much commentary.  One view holds that the church is evidence of the painting's moralistic intent—that while the first two blind men stumble and are beyond redemption, the other four are behind the church and thus may be saved.  Another interpretation has it that the church, with a withered tree placed before it, is an anti-Catholic symbol, and that those who follow it will fall following a blind leader as do the men in the ditch.  Others deny any symbolism in the church, noting that churches frequently appear in Bruegel's village scenes as they were a common part of the village landscape.  Medical researcher Zeynel A. Karcioglu suggests the church represents indifference to the plight of the handicapped.In contrast to the posed, static figures typical of paintings of the period, Bruegel suggests the trajectory of time and space through the accelerated movement of the figures.  Critics Charcot and Richer wrote that the concept of visualizing movement was not formulated until the 17th century, and that Bruegel prefigures motion pictures and Duchamp's Nude Descending a Staircase, No. 2.  Karcioglu sees the painting as anticipating the 19th-century chronophotography of Étienne-Jules Marey.  Dutch film director Joris Ivens stated, "If Bruegel were alive today he would be a film director."

Prompt: 盲人の寓話に焦点を当てて、その分析を説明してください。英語で出力して下さい。

Belgium
Dilbeek
Gustav Glück
Joris Ivens
Nude Descending a Staircase, No. 2
Étienne-Jules Marey


section

盲人の寓話

Charles Bouleau wrote of the tension in Bruegel's compositional rhythms.  The picture is divided into nine equal parts divided by a set of parallel oblique lines.  These are divided by another network of lines at constant angles to the first.  The composition invites the reader to follow the action rather than dwell on the individual figures.  The blind men resemble each other in dress and facial features, and they appear as if they succeed one another in a single movement culminating in a fall, beginning on the left with "rambling, then hesitation, alarm, stumbling, and finally falling".  The succession of heads follows a curve, and the further the succession, the greater the space between heads, suggesting increasing speed.  The steep roofs of the background houses contribute to the composition's feeling of motion.Art historian Gustav Glück noted incongruities in that the beggars are well-dressed and carry staves and full purses.  Academics Kenneth C. Lindsay and Bernard Huppé suggest Bruegel may have implied that the blind men represent false priests who ignored Christ's admonitions not to carry gold, purses, or staves; }} the leader carries a hurdy-gurdy, a musical instrument associated with beggars in Bruegel's time; this perhaps implies a false minstrel, one who sings praises not for God.The church in the background, identified as St. Anna's Church at Dilbeek in modern Belgium, has sparked much commentary.  One view holds that the church is evidence of the painting's moralistic intent—that while the first two blind men stumble and are beyond redemption, the other four are behind the church and thus may be saved.  Another interpretation has it that the church, with a withered tree placed before it, is an anti-Catholic symbol, and that those who follow it will fall following a blind leader as do the men in the ditch.  Others deny any symbolism in the church, noting that churches frequently appear in Bruegel's village scenes as they were a common part of the village landscape.  Medical researcher Zeynel A. Karcioglu suggests the church represents indifference to the plight of the handicapped.In contrast to the posed, static figures typical of paintings of the period, Bruegel suggests the trajectory of time and space through the accelerated movement of the figures.  Critics Charcot and Richer wrote that the concept of visualizing movement was not formulated until the 17th century, and that Bruegel prefigures motion pictures and Duchamp's Nude Descending a Staircase, No. 2.  Karcioglu sees the painting as anticipating the 19th-century chronophotography of Étienne-Jules Marey.  Dutch film director Joris Ivens stated, "If Bruegel were alive today he would be a film director."

Prompt: 盲人の寓話の分析を説明してください。英語で出力して下さい。

Belgium
Dilbeek
Gustav Glück
Joris Ivens
Nude Descending a Staircase, No. 2
Étienne-Jules Marey


section

盲人の寓話

Charles Bouleau wrote of the tension in Bruegel's compositional rhythms.  The picture is divided into nine equal parts divided by a set of parallel oblique lines.  These are divided by another network of lines at constant angles to the first.  The composition invites the reader to follow the action rather than dwell on the individual figures.  The blind men resemble each other in dress and facial features, and they appear as if they succeed one another in a single movement culminating in a fall, beginning on the left with "rambling, then hesitation, alarm, stumbling, and finally falling".  The succession of heads follows a curve, and the further the succession, the greater the space between heads, suggesting increasing speed.  The steep roofs of the background houses contribute to the composition's feeling of motion.Art historian Gustav Glück noted incongruities in that the beggars are well-dressed and carry staves and full purses.  Academics Kenneth C. Lindsay and Bernard Huppé suggest Bruegel may have implied that the blind men represent false priests who ignored Christ's admonitions not to carry gold, purses, or staves; }} the leader carries a hurdy-gurdy, a musical instrument associated with beggars in Bruegel's time; this perhaps implies a false minstrel, one who sings praises not for God.The church in the background, identified as St. Anna's Church at Dilbeek in modern Belgium, has sparked much commentary.  One view holds that the church is evidence of the painting's moralistic intent—that while the first two blind men stumble and are beyond redemption, the other four are behind the church and thus may be saved.  Another interpretation has it that the church, with a withered tree placed before it, is an anti-Catholic symbol, and that those who follow it will fall following a blind leader as do the men in the ditch.  Others deny any symbolism in the church, noting that churches frequently appear in Bruegel's village scenes as they were a common part of the village landscape.  Medical researcher Zeynel A. Karcioglu suggests the church represents indifference to the plight of the handicapped.In contrast to the posed, static figures typical of paintings of the period, Bruegel suggests the trajectory of time and space through the accelerated movement of the figures.  Critics Charcot and Richer wrote that the concept of visualizing movement was not formulated until the 17th century, and that Bruegel prefigures motion pictures and Duchamp's Nude Descending a Staircase, No. 2.  Karcioglu sees the painting as anticipating the 19th-century chronophotography of Étienne-Jules Marey.  Dutch film director Joris Ivens stated, "If Bruegel were alive today he would be a film director."

Prompt: 盲人の寓話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。

Belgium
Dilbeek
Gustav Glück
Joris Ivens
Nude Descending a Staircase, No. 2
Étienne-Jules Marey


section

盲人の寓話

Charles Bouleau wrote of the tension in Bruegel's compositional rhythms.  The picture is divided into nine equal parts divided by a set of parallel oblique lines.  These are divided by another network of lines at constant angles to the first.  The composition invites the reader to follow the action rather than dwell on the individual figures.  The blind men resemble each other in dress and facial features, and they appear as if they succeed one another in a single movement culminating in a fall, beginning on the left with "rambling, then hesitation, alarm, stumbling, and finally falling".  The succession of heads follows a curve, and the further the succession, the greater the space between heads, suggesting increasing speed.  The steep roofs of the background houses contribute to the composition's feeling of motion.Art historian Gustav Glück noted incongruities in that the beggars are well-dressed and carry staves and full purses.  Academics Kenneth C. Lindsay and Bernard Huppé suggest Bruegel may have implied that the blind men represent false priests who ignored Christ's admonitions not to carry gold, purses, or staves; }} the leader carries a hurdy-gurdy, a musical instrument associated with beggars in Bruegel's time; this perhaps implies a false minstrel, one who sings praises not for God.The church in the background, identified as St. Anna's Church at Dilbeek in modern Belgium, has sparked much commentary.  One view holds that the church is evidence of the painting's moralistic intent—that while the first two blind men stumble and are beyond redemption, the other four are behind the church and thus may be saved.  Another interpretation has it that the church, with a withered tree placed before it, is an anti-Catholic symbol, and that those who follow it will fall following a blind leader as do the men in the ditch.  Others deny any symbolism in the church, noting that churches frequently appear in Bruegel's village scenes as they were a common part of the village landscape.  Medical researcher Zeynel A. Karcioglu suggests the church represents indifference to the plight of the handicapped.In contrast to the posed, static figures typical of paintings of the period, Bruegel suggests the trajectory of time and space through the accelerated movement of the figures.  Critics Charcot and Richer wrote that the concept of visualizing movement was not formulated until the 17th century, and that Bruegel prefigures motion pictures and Duchamp's Nude Descending a Staircase, No. 2.  Karcioglu sees the painting as anticipating the 19th-century chronophotography of Étienne-Jules Marey.  Dutch film director Joris Ivens stated, "If Bruegel were alive today he would be a film director."

Prompt: 盲人の寓話に関して、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。

Belgium
Dilbeek
Gustav Glück
Joris Ivens
Nude Descending a Staircase, No. 2
Étienne-Jules Marey


section

盲人の寓話

The Blind Leading the Blind has been considered one of the great masterpieces of painting.  Bruegel's is the earliest surviving painting whose subject is the parable of the blind leading the blind, though there are earlier engravings from the Low Countries known that Bruegel was likely aware of, including one attributed to Bosch, and another by Cornelis Massijs.  Bruegel's paintings have enjoyed worldwide popularity and have been the subjects of scholarly works in disciplines even outside the arts, such as medicine.Bruegel's depictions of beggars in paintings such as The Blind Leading the Blind left a strong influence on those who followed him, such as David Vinckboons. Hieronymus Wierix incorporated a copy of The Blind Leading the Blind into the series Twelve Flemish Proverbs.  A forgery attributed to Jacob Savery called The Blind appeared  bearing a false inscription dating it 1562.  Bruegel's son Pieter Brueghel the Younger painted a larger copy in  with extra details, including a flock of sheep, that hangs in the Louvre; this copy was in the collection of Ferdinando Gonzaga, Duke of Mantua, patron of Italian Baroque painter Domenico Fetti, who may have been influenced by the painting when he executed his own version of the parable around 1621–22.The painting has been the subject of poetry, including works by the Germans Josef Weinheber and Walter Bauer, and Frenchman Charles Baudelaire's "The Blind".}} American William Carlos Williams wrote a series of poems on Bruegel's paintings; his "Parable of the Blind" focuses on the meaning of The Blinds composition—a word that appears three times in the poems eight tercets.  The figures stumble diagonally downward, and—... one
follows the other stick in
hand triumphant to disastersign   = William Carlos Williamssource = "Parable of the Blind", Pictures from Brueghel }}Bruegel's painting served as a model for Belgian playwright Maurice Maeterlinck's one-act The Blind. West German writer Gert Hofmann's 1985 novel The Parable of the Blind features Bruegel and the six blind men: to accomplish a realistic portrayal, Bruegel repeatedly has the men cross a bridge and fall into a creek in midwinter until their expressions achieve the desolation Bruegel believes represents the human condition. A 1987 historical novel Bruegel, or the Workshop of Dreams by  has Bruegel painting the blind out of fear of losing his own eyesight.French cartoonist F'Murr's comic strip Les Aveugles  was inspired by Bruegel's painting.

Prompt: 盲人の寓話に焦点を当てて、その遺産を説明してください。英語で出力して下さい。

Baroque
Charles Baudelaire
Cornelis Massijs
David Vinckboons
Domenico Fetti
F'Murr
Ferdinando Gonzaga, Duke of Mantua
Gert Hofmann
Hieronymus Wierix
Jacob Savery
Josef Weinheber
Louvre
Low Countries
Maurice Maeterlinck
Parable
Pieter Brueghel the Younger
William Carlos Williams


section

盲人の寓話

The Blind Leading the Blind has been considered one of the great masterpieces of painting.  Bruegel's is the earliest surviving painting whose subject is the parable of the blind leading the blind, though there are earlier engravings from the Low Countries known that Bruegel was likely aware of, including one attributed to Bosch, and another by Cornelis Massijs.  Bruegel's paintings have enjoyed worldwide popularity and have been the subjects of scholarly works in disciplines even outside the arts, such as medicine.Bruegel's depictions of beggars in paintings such as The Blind Leading the Blind left a strong influence on those who followed him, such as David Vinckboons. Hieronymus Wierix incorporated a copy of The Blind Leading the Blind into the series Twelve Flemish Proverbs.  A forgery attributed to Jacob Savery called The Blind appeared  bearing a false inscription dating it 1562.  Bruegel's son Pieter Brueghel the Younger painted a larger copy in  with extra details, including a flock of sheep, that hangs in the Louvre; this copy was in the collection of Ferdinando Gonzaga, Duke of Mantua, patron of Italian Baroque painter Domenico Fetti, who may have been influenced by the painting when he executed his own version of the parable around 1621–22.The painting has been the subject of poetry, including works by the Germans Josef Weinheber and Walter Bauer, and Frenchman Charles Baudelaire's "The Blind".}} American William Carlos Williams wrote a series of poems on Bruegel's paintings; his "Parable of the Blind" focuses on the meaning of The Blinds composition—a word that appears three times in the poems eight tercets.  The figures stumble diagonally downward, and—... one
follows the other stick in
hand triumphant to disastersign   = William Carlos Williamssource = "Parable of the Blind", Pictures from Brueghel }}Bruegel's painting served as a model for Belgian playwright Maurice Maeterlinck's one-act The Blind. West German writer Gert Hofmann's 1985 novel The Parable of the Blind features Bruegel and the six blind men: to accomplish a realistic portrayal, Bruegel repeatedly has the men cross a bridge and fall into a creek in midwinter until their expressions achieve the desolation Bruegel believes represents the human condition. A 1987 historical novel Bruegel, or the Workshop of Dreams by  has Bruegel painting the blind out of fear of losing his own eyesight.French cartoonist F'Murr's comic strip Les Aveugles  was inspired by Bruegel's painting.

Prompt: 盲人の寓話の遺産を説明してください。英語で出力して下さい。

Baroque
Charles Baudelaire
Cornelis Massijs
David Vinckboons
Domenico Fetti
F'Murr
Ferdinando Gonzaga, Duke of Mantua
Gert Hofmann
Hieronymus Wierix
Jacob Savery
Josef Weinheber
Louvre
Low Countries
Maurice Maeterlinck
Parable
Pieter Brueghel the Younger
William Carlos Williams


section

盲人の寓話

The Blind Leading the Blind has been considered one of the great masterpieces of painting.  Bruegel's is the earliest surviving painting whose subject is the parable of the blind leading the blind, though there are earlier engravings from the Low Countries known that Bruegel was likely aware of, including one attributed to Bosch, and another by Cornelis Massijs.  Bruegel's paintings have enjoyed worldwide popularity and have been the subjects of scholarly works in disciplines even outside the arts, such as medicine.Bruegel's depictions of beggars in paintings such as The Blind Leading the Blind left a strong influence on those who followed him, such as David Vinckboons. Hieronymus Wierix incorporated a copy of The Blind Leading the Blind into the series Twelve Flemish Proverbs.  A forgery attributed to Jacob Savery called The Blind appeared  bearing a false inscription dating it 1562.  Bruegel's son Pieter Brueghel the Younger painted a larger copy in  with extra details, including a flock of sheep, that hangs in the Louvre; this copy was in the collection of Ferdinando Gonzaga, Duke of Mantua, patron of Italian Baroque painter Domenico Fetti, who may have been influenced by the painting when he executed his own version of the parable around 1621–22.The painting has been the subject of poetry, including works by the Germans Josef Weinheber and Walter Bauer, and Frenchman Charles Baudelaire's "The Blind".}} American William Carlos Williams wrote a series of poems on Bruegel's paintings; his "Parable of the Blind" focuses on the meaning of The Blinds composition—a word that appears three times in the poems eight tercets.  The figures stumble diagonally downward, and—... one
follows the other stick in
hand triumphant to disastersign   = William Carlos Williamssource = "Parable of the Blind", Pictures from Brueghel }}Bruegel's painting served as a model for Belgian playwright Maurice Maeterlinck's one-act The Blind. West German writer Gert Hofmann's 1985 novel The Parable of the Blind features Bruegel and the six blind men: to accomplish a realistic portrayal, Bruegel repeatedly has the men cross a bridge and fall into a creek in midwinter until their expressions achieve the desolation Bruegel believes represents the human condition. A 1987 historical novel Bruegel, or the Workshop of Dreams by  has Bruegel painting the blind out of fear of losing his own eyesight.French cartoonist F'Murr's comic strip Les Aveugles  was inspired by Bruegel's painting.

Prompt: 盲人の寓話はどのように遺産を説明していますか？英語で出力して下さい。

Baroque
Charles Baudelaire
Cornelis Massijs
David Vinckboons
Domenico Fetti
F'Murr
Ferdinando Gonzaga, Duke of Mantua
Gert Hofmann
Hieronymus Wierix
Jacob Savery
Josef Weinheber
Louvre
Low Countries
Maurice Maeterlinck
Parable
Pieter Brueghel the Younger
William Carlos Williams


section

盲人の寓話

The Blind Leading the Blind has been considered one of the great masterpieces of painting.  Bruegel's is the earliest surviving painting whose subject is the parable of the blind leading the blind, though there are earlier engravings from the Low Countries known that Bruegel was likely aware of, including one attributed to Bosch, and another by Cornelis Massijs.  Bruegel's paintings have enjoyed worldwide popularity and have been the subjects of scholarly works in disciplines even outside the arts, such as medicine.Bruegel's depictions of beggars in paintings such as The Blind Leading the Blind left a strong influence on those who followed him, such as David Vinckboons. Hieronymus Wierix incorporated a copy of The Blind Leading the Blind into the series Twelve Flemish Proverbs.  A forgery attributed to Jacob Savery called The Blind appeared  bearing a false inscription dating it 1562.  Bruegel's son Pieter Brueghel the Younger painted a larger copy in  with extra details, including a flock of sheep, that hangs in the Louvre; this copy was in the collection of Ferdinando Gonzaga, Duke of Mantua, patron of Italian Baroque painter Domenico Fetti, who may have been influenced by the painting when he executed his own version of the parable around 1621–22.The painting has been the subject of poetry, including works by the Germans Josef Weinheber and Walter Bauer, and Frenchman Charles Baudelaire's "The Blind".}} American William Carlos Williams wrote a series of poems on Bruegel's paintings; his "Parable of the Blind" focuses on the meaning of The Blinds composition—a word that appears three times in the poems eight tercets.  The figures stumble diagonally downward, and—... one
follows the other stick in
hand triumphant to disastersign   = William Carlos Williamssource = "Parable of the Blind", Pictures from Brueghel }}Bruegel's painting served as a model for Belgian playwright Maurice Maeterlinck's one-act The Blind. West German writer Gert Hofmann's 1985 novel The Parable of the Blind features Bruegel and the six blind men: to accomplish a realistic portrayal, Bruegel repeatedly has the men cross a bridge and fall into a creek in midwinter until their expressions achieve the desolation Bruegel believes represents the human condition. A 1987 historical novel Bruegel, or the Workshop of Dreams by  has Bruegel painting the blind out of fear of losing his own eyesight.French cartoonist F'Murr's comic strip Les Aveugles  was inspired by Bruegel's painting.

Prompt: 盲人の寓話に関して、どのように遺産が議論されていますか？英語で出力して下さい。

Baroque
Charles Baudelaire
Cornelis Massijs
David Vinckboons
Domenico Fetti
F'Murr
Ferdinando Gonzaga, Duke of Mantua
Gert Hofmann
Hieronymus Wierix
Jacob Savery
Josef Weinheber
Louvre
Low Countries
Maurice Maeterlinck
Parable
Pieter Brueghel the Younger
William Carlos Williams


section

盲人の寓話

The Blind Leading the Blind and The Misanthrope were discovered in the collection of the Count Giovanni Battista Masi of Parma in 1612, when Ranuccio I Farnese, Duke of Parma confiscated Masi's property for his part in a conspiracy against the House of Farnese.  How the painting arrived in Italy is uncertain, though it is known that Masi's father Cosimo returned from the Netherlands in 1595 with a number of Netherlandish paintings.  The Farnese art collection came to be one of the largest of the Renaissance era, divided amongst the Farnese residences in Parma and Rome.In the 18th century, Charles III of Spain inherited the collection from his mother, Elisabeth Farnese, heiress of the Duchy of Parma in north Italy, who became Queen consort of Spain.  As a younger son, Charles had been made Duke of Parma, then boldly seized the Kingdom of Naples, becoming Charles VII of Naples, before inheriting the Spanish throne.  Charles housed the collection in what is now the National Museum of Capodimonte in Naples.  The painting hangs in the Capodimonte with The Misanthrope, as part of the Farnese collection.

Prompt: 盲人の寓話に焦点を当てて、その起源を説明してください。英語で出力して下さい。

Charles III of Spain
Duke of Parma
Elisabeth Farnese
House of Farnese
Kingdom of Naples
Naples
Parma
Ranuccio I Farnese


section

盲人の寓話

The Blind Leading the Blind and The Misanthrope were discovered in the collection of the Count Giovanni Battista Masi of Parma in 1612, when Ranuccio I Farnese, Duke of Parma confiscated Masi's property for his part in a conspiracy against the House of Farnese.  How the painting arrived in Italy is uncertain, though it is known that Masi's father Cosimo returned from the Netherlands in 1595 with a number of Netherlandish paintings.  The Farnese art collection came to be one of the largest of the Renaissance era, divided amongst the Farnese residences in Parma and Rome.In the 18th century, Charles III of Spain inherited the collection from his mother, Elisabeth Farnese, heiress of the Duchy of Parma in north Italy, who became Queen consort of Spain.  As a younger son, Charles had been made Duke of Parma, then boldly seized the Kingdom of Naples, becoming Charles VII of Naples, before inheriting the Spanish throne.  Charles housed the collection in what is now the National Museum of Capodimonte in Naples.  The painting hangs in the Capodimonte with The Misanthrope, as part of the Farnese collection.

Prompt: 盲人の寓話の起源を説明してください。英語で出力して下さい。

Charles III of Spain
Duke of Parma
Elisabeth Farnese
House of Farnese
Kingdom of Naples
Naples
Parma
Ranuccio I Farnese


section

盲人の寓話

The Blind Leading the Blind and The Misanthrope were discovered in the collection of the Count Giovanni Battista Masi of Parma in 1612, when Ranuccio I Farnese, Duke of Parma confiscated Masi's property for his part in a conspiracy against the House of Farnese.  How the painting arrived in Italy is uncertain, though it is known that Masi's father Cosimo returned from the Netherlands in 1595 with a number of Netherlandish paintings.  The Farnese art collection came to be one of the largest of the Renaissance era, divided amongst the Farnese residences in Parma and Rome.In the 18th century, Charles III of Spain inherited the collection from his mother, Elisabeth Farnese, heiress of the Duchy of Parma in north Italy, who became Queen consort of Spain.  As a younger son, Charles had been made Duke of Parma, then boldly seized the Kingdom of Naples, becoming Charles VII of Naples, before inheriting the Spanish throne.  Charles housed the collection in what is now the National Museum of Capodimonte in Naples.  The painting hangs in the Capodimonte with The Misanthrope, as part of the Farnese collection.

Prompt: 盲人の寓話はどのように起源を説明していますか？英語で出力して下さい。

Charles III of Spain
Duke of Parma
Elisabeth Farnese
House of Farnese
Kingdom of Naples
Naples
Parma
Ranuccio I Farnese


section

盲人の寓話

The Blind Leading the Blind and The Misanthrope were discovered in the collection of the Count Giovanni Battista Masi of Parma in 1612, when Ranuccio I Farnese, Duke of Parma confiscated Masi's property for his part in a conspiracy against the House of Farnese.  How the painting arrived in Italy is uncertain, though it is known that Masi's father Cosimo returned from the Netherlands in 1595 with a number of Netherlandish paintings.  The Farnese art collection came to be one of the largest of the Renaissance era, divided amongst the Farnese residences in Parma and Rome.In the 18th century, Charles III of Spain inherited the collection from his mother, Elisabeth Farnese, heiress of the Duchy of Parma in north Italy, who became Queen consort of Spain.  As a younger son, Charles had been made Duke of Parma, then boldly seized the Kingdom of Naples, becoming Charles VII of Naples, before inheriting the Spanish throne.  Charles housed the collection in what is now the National Museum of Capodimonte in Naples.  The painting hangs in the Capodimonte with The Misanthrope, as part of the Farnese collection.

Prompt: 盲人の寓話に関して、どのように起源が議論されていますか？英語で出力して下さい。

Charles III of Spain
Duke of Parma
Elisabeth Farnese
House of Farnese
Kingdom of Naples
Naples
Parma
Ranuccio I Farnese


section

盲人の寓話

List of paintings by Pieter Bruegel the Elder

Prompt: 盲人の寓話に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

盲人の寓話

List of paintings by Pieter Bruegel the Elder

Prompt: 盲人の寓話の参照を説明してください。英語で出力して下さい。


section

盲人の寓話

List of paintings by Pieter Bruegel the Elder

Prompt: 盲人の寓話はどのように参照を説明していますか？英語で出力して下さい。


section

盲人の寓話

List of paintings by Pieter Bruegel the Elder

Prompt: 盲人の寓話に関して、どのように参照が議論されていますか？英語で出力して下さい。


section

盲人の寓話

Category:Paintings by Pieter Bruegel the ElderCategory:Paintings in the Museo di CapodimonteCategory:1568 paintingsCategory:Disability in the artscategory:16th-century allegorical paintingscategory:Allegorical paintings by Dutch artists

Prompt: 盲人の寓話に焦点を当てて、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。

Museo di Capodimonte
Pieter Bruegel the Elder


section

盲人の寓話

Category:Paintings by Pieter Bruegel the ElderCategory:Paintings in the Museo di CapodimonteCategory:1568 paintingsCategory:Disability in the artscategory:16th-century allegorical paintingscategory:Allegorical paintings by Dutch artists

Prompt: 盲人の寓話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。

Museo di Capodimonte
Pieter Bruegel the Elder


section

盲人の寓話

Category:Paintings by Pieter Bruegel the ElderCategory:Paintings in the Museo di CapodimonteCategory:1568 paintingsCategory:Disability in the artscategory:16th-century allegorical paintingscategory:Allegorical paintings by Dutch artists

Prompt: 盲人の寓話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。

Museo di Capodimonte
Pieter Bruegel the Elder


section

盲人の寓話

Category:Paintings by Pieter Bruegel the ElderCategory:Paintings in the Museo di CapodimonteCategory:1568 paintingsCategory:Disability in the artscategory:16th-century allegorical paintingscategory:Allegorical paintings by Dutch artists

Prompt: 盲人の寓話に関して、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。

Museo di Capodimonte
Pieter Bruegel the Elder


subsection

盲人の寓話

One of four surviving Bruegel paintings in distemper,}} the work is a tüchlein, a type of light painting that uses tempera made from pigment mixed with water-soluble glue. This medium was widely used in painting and manuscript illumination before the advent of oil paint.  It is not known from whom Bruegel learnt its use, but amongst those speculated are his mother-in-law, illuminator Mayken Verhulst; his teacher Pieter Coecke van Aelst; and painter and illuminator Giulio Clovio, with whom he resided in Italy and whom he helped paint miniatures in distemper. Due to the high perishability of linen cloth and the solubility of hide glue, tüchleins do not preserve well and are difficult to restore.  The Blind Leading the Blind is in good condition and has suffered no more than some erosion, such as of a herdsman and some fowl in the middle ground. }}  The grain of the linen canvas is visible beneath the delicate brushstrokes.  The work is signed and dated .  The painting measures , the largest of 1568.The austere tone is achieved through pigments in a colour scheme of mostly greys, greens, brownish-reds, and blacks.  The diagonal movement of the bodies creates a dramatic tension in the foreground which is divided diagonally from the landscape background.  The flat country features are distinctly Flemish, unlike in most of Bruegel's landscapes, in which he introduced foreign elements such as mountain ranges even into local scenery.In contrast to earlier depictions of the blind as beneficiaries of divine gifts, Bruegel's men are stumbling and decrepit, and portrayed without sympathy.  The eyeless figure would have been interpreted as a man who had suffered punishment for wrongdoing or fighting.Bruegel painted with the empirical objectivity of the Renaissance.  In earlier paintings the blind were typically depicted with eyes closed. Here, Bruegel gives each man a different ocular affliction, all painted with a realism that allowed identification of their conditions by later experts, though there is still some diagnostic disagreement.  French anatomical pathologist Jean-Martin Charcot and anatomical artist Paul Richer published an early account,  , and French pathologist Tony-Michel Torrillhon followed with more research on Bruegel's figures in 1957.  The first man's eyes are not visible; the second has had his eyes removed, along with the eyelids: the third suffers from corneal leukoma; the fourth atrophy of the globe; the fifth is either blind with no light perception, or photophobic; and the sixth has pemphigus or bullous pemphigoid.  Charcot and Richer noted Bruegel's accuracy in portraying the blind men facing not forward but with their faces raised in the air, as they would have had to rely on their senses of smell and hearing.

Prompt: 盲人の寓話の文脈で、スタイルと説明を説明してください。英語で出力して下さい。

Giulio Clovio
Jean-Martin Charcot
Mayken Verhulst
Paul Richer
Pieter Coecke van Aelst


subsection

盲人の寓話

One of four surviving Bruegel paintings in distemper,}} the work is a tüchlein, a type of light painting that uses tempera made from pigment mixed with water-soluble glue. This medium was widely used in painting and manuscript illumination before the advent of oil paint.  It is not known from whom Bruegel learnt its use, but amongst those speculated are his mother-in-law, illuminator Mayken Verhulst; his teacher Pieter Coecke van Aelst; and painter and illuminator Giulio Clovio, with whom he resided in Italy and whom he helped paint miniatures in distemper. Due to the high perishability of linen cloth and the solubility of hide glue, tüchleins do not preserve well and are difficult to restore.  The Blind Leading the Blind is in good condition and has suffered no more than some erosion, such as of a herdsman and some fowl in the middle ground. }}  The grain of the linen canvas is visible beneath the delicate brushstrokes.  The work is signed and dated .  The painting measures , the largest of 1568.The austere tone is achieved through pigments in a colour scheme of mostly greys, greens, brownish-reds, and blacks.  The diagonal movement of the bodies creates a dramatic tension in the foreground which is divided diagonally from the landscape background.  The flat country features are distinctly Flemish, unlike in most of Bruegel's landscapes, in which he introduced foreign elements such as mountain ranges even into local scenery.In contrast to earlier depictions of the blind as beneficiaries of divine gifts, Bruegel's men are stumbling and decrepit, and portrayed without sympathy.  The eyeless figure would have been interpreted as a man who had suffered punishment for wrongdoing or fighting.Bruegel painted with the empirical objectivity of the Renaissance.  In earlier paintings the blind were typically depicted with eyes closed. Here, Bruegel gives each man a different ocular affliction, all painted with a realism that allowed identification of their conditions by later experts, though there is still some diagnostic disagreement.  French anatomical pathologist Jean-Martin Charcot and anatomical artist Paul Richer published an early account,  , and French pathologist Tony-Michel Torrillhon followed with more research on Bruegel's figures in 1957.  The first man's eyes are not visible; the second has had his eyes removed, along with the eyelids: the third suffers from corneal leukoma; the fourth atrophy of the globe; the fifth is either blind with no light perception, or photophobic; and the sixth has pemphigus or bullous pemphigoid.  Charcot and Richer noted Bruegel's accuracy in portraying the blind men facing not forward but with their faces raised in the air, as they would have had to rely on their senses of smell and hearing.

Prompt: 盲人の寓話の説明に関するスタイルを説明してください。英語で出力して下さい。

Giulio Clovio
Jean-Martin Charcot
Mayken Verhulst
Paul Richer
Pieter Coecke van Aelst


subsection

盲人の寓話

One of four surviving Bruegel paintings in distemper,}} the work is a tüchlein, a type of light painting that uses tempera made from pigment mixed with water-soluble glue. This medium was widely used in painting and manuscript illumination before the advent of oil paint.  It is not known from whom Bruegel learnt its use, but amongst those speculated are his mother-in-law, illuminator Mayken Verhulst; his teacher Pieter Coecke van Aelst; and painter and illuminator Giulio Clovio, with whom he resided in Italy and whom he helped paint miniatures in distemper. Due to the high perishability of linen cloth and the solubility of hide glue, tüchleins do not preserve well and are difficult to restore.  The Blind Leading the Blind is in good condition and has suffered no more than some erosion, such as of a herdsman and some fowl in the middle ground. }}  The grain of the linen canvas is visible beneath the delicate brushstrokes.  The work is signed and dated .  The painting measures , the largest of 1568.The austere tone is achieved through pigments in a colour scheme of mostly greys, greens, brownish-reds, and blacks.  The diagonal movement of the bodies creates a dramatic tension in the foreground which is divided diagonally from the landscape background.  The flat country features are distinctly Flemish, unlike in most of Bruegel's landscapes, in which he introduced foreign elements such as mountain ranges even into local scenery.In contrast to earlier depictions of the blind as beneficiaries of divine gifts, Bruegel's men are stumbling and decrepit, and portrayed without sympathy.  The eyeless figure would have been interpreted as a man who had suffered punishment for wrongdoing or fighting.Bruegel painted with the empirical objectivity of the Renaissance.  In earlier paintings the blind were typically depicted with eyes closed. Here, Bruegel gives each man a different ocular affliction, all painted with a realism that allowed identification of their conditions by later experts, though there is still some diagnostic disagreement.  French anatomical pathologist Jean-Martin Charcot and anatomical artist Paul Richer published an early account,  , and French pathologist Tony-Michel Torrillhon followed with more research on Bruegel's figures in 1957.  The first man's eyes are not visible; the second has had his eyes removed, along with the eyelids: the third suffers from corneal leukoma; the fourth atrophy of the globe; the fifth is either blind with no light perception, or photophobic; and the sixth has pemphigus or bullous pemphigoid.  Charcot and Richer noted Bruegel's accuracy in portraying the blind men facing not forward but with their faces raised in the air, as they would have had to rely on their senses of smell and hearing.

Prompt: 盲人の寓話では、どのように説明のスタイルが説明されていますか？英語で出力して下さい。

Giulio Clovio
Jean-Martin Charcot
Mayken Verhulst
Paul Richer
Pieter Coecke van Aelst


subsection

盲人の寓話

One of four surviving Bruegel paintings in distemper,}} the work is a tüchlein, a type of light painting that uses tempera made from pigment mixed with water-soluble glue. This medium was widely used in painting and manuscript illumination before the advent of oil paint.  It is not known from whom Bruegel learnt its use, but amongst those speculated are his mother-in-law, illuminator Mayken Verhulst; his teacher Pieter Coecke van Aelst; and painter and illuminator Giulio Clovio, with whom he resided in Italy and whom he helped paint miniatures in distemper. Due to the high perishability of linen cloth and the solubility of hide glue, tüchleins do not preserve well and are difficult to restore.  The Blind Leading the Blind is in good condition and has suffered no more than some erosion, such as of a herdsman and some fowl in the middle ground. }}  The grain of the linen canvas is visible beneath the delicate brushstrokes.  The work is signed and dated .  The painting measures , the largest of 1568.The austere tone is achieved through pigments in a colour scheme of mostly greys, greens, brownish-reds, and blacks.  The diagonal movement of the bodies creates a dramatic tension in the foreground which is divided diagonally from the landscape background.  The flat country features are distinctly Flemish, unlike in most of Bruegel's landscapes, in which he introduced foreign elements such as mountain ranges even into local scenery.In contrast to earlier depictions of the blind as beneficiaries of divine gifts, Bruegel's men are stumbling and decrepit, and portrayed without sympathy.  The eyeless figure would have been interpreted as a man who had suffered punishment for wrongdoing or fighting.Bruegel painted with the empirical objectivity of the Renaissance.  In earlier paintings the blind were typically depicted with eyes closed. Here, Bruegel gives each man a different ocular affliction, all painted with a realism that allowed identification of their conditions by later experts, though there is still some diagnostic disagreement.  French anatomical pathologist Jean-Martin Charcot and anatomical artist Paul Richer published an early account,  , and French pathologist Tony-Michel Torrillhon followed with more research on Bruegel's figures in 1957.  The first man's eyes are not visible; the second has had his eyes removed, along with the eyelids: the third suffers from corneal leukoma; the fourth atrophy of the globe; the fifth is either blind with no light perception, or photophobic; and the sixth has pemphigus or bullous pemphigoid.  Charcot and Richer noted Bruegel's accuracy in portraying the blind men facing not forward but with their faces raised in the air, as they would have had to rely on their senses of smell and hearing.

Prompt: 盲人の寓話の説明におけるスタイルの特徴を説明してください。英語で出力して下さい。

Giulio Clovio
Jean-Martin Charcot
Mayken Verhulst
Paul Richer
Pieter Coecke van Aelst


section

ユピテルとテティス

Jupiter and Thetis is an 1811 painting by the French neoclassical painter Jean-Auguste-Dominique Ingres, in the Musée Granet, Aix-en-Provence, France. Painted when the artist was not yet 31, the work severely and pointedly contrasts the grandeur and might of a cloud-borne Olympian male deity against that of a diminutive and half nude nymph. Ingres' subject matter is borrowed from an episode in Homer's Iliad when the sea nymph Thetis begs Jupiter to intervene and guide the fate of her son Achilles, who was at the time embroiled in the Trojan War.

Prompt: ユピテルとテティスに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Achilles
Aix-en-Provence
Homer
Iliad
Jean-Auguste-Dominique Ingres
Musée Granet
Thetis
Trojan War


section

ユピテルとテティス

Jupiter and Thetis is an 1811 painting by the French neoclassical painter Jean-Auguste-Dominique Ingres, in the Musée Granet, Aix-en-Provence, France. Painted when the artist was not yet 31, the work severely and pointedly contrasts the grandeur and might of a cloud-borne Olympian male deity against that of a diminutive and half nude nymph. Ingres' subject matter is borrowed from an episode in Homer's Iliad when the sea nymph Thetis begs Jupiter to intervene and guide the fate of her son Achilles, who was at the time embroiled in the Trojan War.

Prompt: ユピテルとテティスの抽象を説明してください。英語で出力して下さい。

Achilles
Aix-en-Provence
Homer
Iliad
Jean-Auguste-Dominique Ingres
Musée Granet
Thetis
Trojan War


section

ユピテルとテティス

Jupiter and Thetis is an 1811 painting by the French neoclassical painter Jean-Auguste-Dominique Ingres, in the Musée Granet, Aix-en-Provence, France. Painted when the artist was not yet 31, the work severely and pointedly contrasts the grandeur and might of a cloud-borne Olympian male deity against that of a diminutive and half nude nymph. Ingres' subject matter is borrowed from an episode in Homer's Iliad when the sea nymph Thetis begs Jupiter to intervene and guide the fate of her son Achilles, who was at the time embroiled in the Trojan War.

Prompt: ユピテルとテティ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。

Achilles
Aix-en-Provence
Homer
Iliad
Jean-Auguste-Dominique Ingres
Musée Granet
Thetis
Trojan War


section

ユピテルとテティス

Jupiter and Thetis is an 1811 painting by the French neoclassical painter Jean-Auguste-Dominique Ingres, in the Musée Granet, Aix-en-Provence, France. Painted when the artist was not yet 31, the work severely and pointedly contrasts the grandeur and might of a cloud-borne Olympian male deity against that of a diminutive and half nude nymph. Ingres' subject matter is borrowed from an episode in Homer's Iliad when the sea nymph Thetis begs Jupiter to intervene and guide the fate of her son Achilles, who was at the time embroiled in the Trojan War.

Prompt: ユピテルとテティスに関して、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。

Achilles
Aix-en-Provence
Homer
Iliad
Jean-Auguste-Dominique Ingres
Musée Granet
Thetis
Trojan War


section

ユピテルとテティス

The painting is steeped in the traditions of both classical and neoclassical art, most notably in its grand scale of . Ingres creates many visual contrasts between the god and the slithering nymph: Jupiter is shown facing the viewer frontally with both his arms and legs spread broadly across the canvas, while the color of his dress and flesh echoes that of the marble at his feet. In contrast, Thetis is rendered in sensuous curves and portrayed in supplication to the mercy of a cruel god who holds the fate of her son in his hands. Thetis' right hand falls on Jupiter's hip with a suggestion of erotic caress, while the dark green of her dress accents the dread and foreboding of the bare landscape behind. Her clothing is drawn up against her lower hip, and seems about to fall off. The focal point of the work is Thetis' left hand extended vertically upright as she attempts to stroke the beard of the god. it is generally regarded as a rejection of such values. Ingres highly regarded the painting, and in a manner it marries the great motifs of his career: the voluptuousness of the female character and the authoritative austerity on the male deity. at a time when Ingres' attention to line coupled with his disregard for anatomical reality was yet to find favour among critics.

Prompt: ユピテルとテティスに焦点を当てて、そのスタイルと主題を説明してください。英語で出力して下さい。


section

ユピテルとテティス

The painting is steeped in the traditions of both classical and neoclassical art, most notably in its grand scale of . Ingres creates many visual contrasts between the god and the slithering nymph: Jupiter is shown facing the viewer frontally with both his arms and legs spread broadly across the canvas, while the color of his dress and flesh echoes that of the marble at his feet. In contrast, Thetis is rendered in sensuous curves and portrayed in supplication to the mercy of a cruel god who holds the fate of her son in his hands. Thetis' right hand falls on Jupiter's hip with a suggestion of erotic caress, while the dark green of her dress accents the dread and foreboding of the bare landscape behind. Her clothing is drawn up against her lower hip, and seems about to fall off. The focal point of the work is Thetis' left hand extended vertically upright as she attempts to stroke the beard of the god. it is generally regarded as a rejection of such values. Ingres highly regarded the painting, and in a manner it marries the great motifs of his career: the voluptuousness of the female character and the authoritative austerity on the male deity. at a time when Ingres' attention to line coupled with his disregard for anatomical reality was yet to find favour among critics.

Prompt: ユピテルとテティスのスタイルと主題を説明してください。英語で出力して下さい。


section

ユピテルとテティス

The painting is steeped in the traditions of both classical and neoclassical art, most notably in its grand scale of . Ingres creates many visual contrasts between the god and the slithering nymph: Jupiter is shown facing the viewer frontally with both his arms and legs spread broadly across the canvas, while the color of his dress and flesh echoes that of the marble at his feet. In contrast, Thetis is rendered in sensuous curves and portrayed in supplication to the mercy of a cruel god who holds the fate of her son in his hands. Thetis' right hand falls on Jupiter's hip with a suggestion of erotic caress, while the dark green of her dress accents the dread and foreboding of the bare landscape behind. Her clothing is drawn up against her lower hip, and seems about to fall off. The focal point of the work is Thetis' left hand extended vertically upright as she attempts to stroke the beard of the god. it is generally regarded as a rejection of such values. Ingres highly regarded the painting, and in a manner it marries the great motifs of his career: the voluptuousness of the female character and the authoritative austerity on the male deity. at a time when Ingres' attention to line coupled with his disregard for anatomical reality was yet to find favour among critics.

Prompt: ユピテルとテティスはどのようにスタイルと主題を説明していますか？英語で出力して下さい。


section

ユピテルとテティス

The painting is steeped in the traditions of both classical and neoclassical art, most notably in its grand scale of . Ingres creates many visual contrasts between the god and the slithering nymph: Jupiter is shown facing the viewer frontally with both his arms and legs spread broadly across the canvas, while the color of his dress and flesh echoes that of the marble at his feet. In contrast, Thetis is rendered in sensuous curves and portrayed in supplication to the mercy of a cruel god who holds the fate of her son in his hands. Thetis' right hand falls on Jupiter's hip with a suggestion of erotic caress, while the dark green of her dress accents the dread and foreboding of the bare landscape behind. Her clothing is drawn up against her lower hip, and seems about to fall off. The focal point of the work is Thetis' left hand extended vertically upright as she attempts to stroke the beard of the god. it is generally regarded as a rejection of such values. Ingres highly regarded the painting, and in a manner it marries the great motifs of his career: the voluptuousness of the female character and the authoritative austerity on the male deity. at a time when Ingres' attention to line coupled with his disregard for anatomical reality was yet to find favour among critics.

Prompt: ユピテルとテティスに関して、どのようにスタイルと主題が議論されていますか？英語で出力して下さい。


section

ユピテルとテティス

List of paintings by Jean-Auguste-Dominique Ingres

Prompt: ユピテルとテティスに焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

ユピテルとテティス

List of paintings by Jean-Auguste-Dominique Ingres

Prompt: ユピテルとテティスの参照を説明してください。英語で出力して下さい。


section

ユピテルとテティス

List of paintings by Jean-Auguste-Dominique Ingres

Prompt: ユピテルとテティスはどのように参照を説明していますか？英語で出力して下さい。


section

ユピテルとテティス

List of paintings by Jean-Auguste-Dominique Ingres

Prompt: ユピテルとテティスに関して、どのように参照が議論されていますか？英語で出力して下さい。


section

ユピテルとテティス

Rosenblum, Robert. Ingres. London: Harry N. Abrams, 1990.

Prompt: ユピテルとテティスに焦点を当てて、その情報源を説明してください。英語で出力して下さい。


section

ユピテルとテティス

Rosenblum, Robert. Ingres. London: Harry N. Abrams, 1990.

Prompt: ユピテルとテティスの情報源を説明してください。英語で出力して下さい。


section

ユピテルとテティス

Rosenblum, Robert. Ingres. London: Harry N. Abrams, 1990.

Prompt: ユピテルとテティスはどのように情報源を説明していますか？英語で出力して下さい。


section

ユピテルとテティス

Rosenblum, Robert. Ingres. London: Harry N. Abrams, 1990.

Prompt: ユピテルとテティスに関して、どのように情報源が議論されていますか？英語で出力して下さい。


section

氷の海

The Sea of Ice,  , is an oil painting that depicts a shipwreck in the Arctic by the German Romantic painter Caspar David Friedrich. Before 1826 this painting was known as The Polar Sea.The work was first exhibited at the Prague Academy exhibition in 1824 with the title An Idealized Scene of an Arctic Sea, with a Wrecked Ship on the Heaped Masses of Ice. It is currently held by the Kunsthalle Hamburg, Germany.

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


section

氷の海

The Sea of Ice,  , is an oil painting that depicts a shipwreck in the Arctic by the German Romantic painter Caspar David Friedrich. Before 1826 this painting was known as The Polar Sea.The work was first exhibited at the Prague Academy exhibition in 1824 with the title An Idealized Scene of an Arctic Sea, with a Wrecked Ship on the Heaped Masses of Ice. It is currently held by the Kunsthalle Hamburg, Germany.

Prompt: 氷の海の抽象を説明してください。英語で出力して下さい。


section

氷の海

The Sea of Ice,  , is an oil painting that depicts a shipwreck in the Arctic by the German Romantic painter Caspar David Friedrich. Before 1826 this painting was known as The Polar Sea.The work was first exhibited at the Prague Academy exhibition in 1824 with the title An Idealized Scene of an Arctic Sea, with a Wrecked Ship on the Heaped Masses of Ice. It is currently held by the Kunsthalle Hamburg, Germany.

Prompt: 氷の海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

氷の海

The Sea of Ice,  , is an oil painting that depicts a shipwreck in the Arctic by the German Romantic painter Caspar David Friedrich. Before 1826 this painting was known as The Polar Sea.The work was first exhibited at the Prague Academy exhibition in 1824 with the title An Idealized Scene of an Arctic Sea, with a Wrecked Ship on the Heaped Masses of Ice. It is currently held by the Kunsthalle Hamburg, Germany.

Prompt: 氷の海に関して、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

氷の海

Caspar David Friedrich was born on September 5, 1774, in Greifswald, Germany. He grew up a Protestant. Friedrich began studying art with a drawing teacher from the University of Greifswald named Johann Gottfried Quistorp. He went on to study at the Akademi for de Skønne Kunster in Copenhagen, Denmark from 1794 to 1798. After this Friedrich studied at the Hochschule der Bildenen Künste in Dresden, Germany.  Friedrich decided to live the rest of his life in Dresden where he died on May 7, 1840.

Prompt: 氷の海に焦点を当てて、その背景、フリードリヒを説明してください。英語で出力して下さい。

Caspar David Friedrich
Copenhagen
Dresden
Greifswald
University of Greifswald


section

氷の海

Caspar David Friedrich was born on September 5, 1774, in Greifswald, Germany. He grew up a Protestant. Friedrich began studying art with a drawing teacher from the University of Greifswald named Johann Gottfried Quistorp. He went on to study at the Akademi for de Skønne Kunster in Copenhagen, Denmark from 1794 to 1798. After this Friedrich studied at the Hochschule der Bildenen Künste in Dresden, Germany.  Friedrich decided to live the rest of his life in Dresden where he died on May 7, 1840.

Prompt: 氷の海の背景、フリードリヒを説明してください。英語で出力して下さい。

Caspar David Friedrich
Copenhagen
Dresden
Greifswald
University of Greifswald


section

氷の海

Caspar David Friedrich was born on September 5, 1774, in Greifswald, Germany. He grew up a Protestant. Friedrich began studying art with a drawing teacher from the University of Greifswald named Johann Gottfried Quistorp. He went on to study at the Akademi for de Skønne Kunster in Copenhagen, Denmark from 1794 to 1798. After this Friedrich studied at the Hochschule der Bildenen Künste in Dresden, Germany.  Friedrich decided to live the rest of his life in Dresden where he died on May 7, 1840.

Prompt: 氷の海はどのように背景、フリードリヒを説明していますか？英語で出力して下さい。

Caspar David Friedrich
Copenhagen
Dresden
Greifswald
University of Greifswald


section

氷の海

Caspar David Friedrich was born on September 5, 1774, in Greifswald, Germany. He grew up a Protestant. Friedrich began studying art with a drawing teacher from the University of Greifswald named Johann Gottfried Quistorp. He went on to study at the Akademi for de Skønne Kunster in Copenhagen, Denmark from 1794 to 1798. After this Friedrich studied at the Hochschule der Bildenen Künste in Dresden, Germany.  Friedrich decided to live the rest of his life in Dresden where he died on May 7, 1840.

Prompt: 氷の海に関して、どのように背景、フリードリヒが議論されていますか？英語で出力して下さい。

Caspar David Friedrich
Copenhagen
Dresden
Greifswald
University of Greifswald


section

氷の海

The collector Johann Gottlob von Quandt commissioned two pictures that were to symbolize the south and the north. Johann Martin von Rohden received the commission to paint Southern Nature in her Abundant and Majestic Splendor, while the commission for Northern Nature in the whole of her Terrifying Beauty fell to Friedrich. However, as Vasily Zhukovsky in a letter dated 1821 reported, Friedrich –Accounts of expeditions to the North Pole were occasionally published during those years which is probably how Friedrich became familiar with William Edward Parry's 1819–1820 expedition to find the Northwest Passage. In the winter of 1820–21, Friedrich made extensive oil studies of ice floes on the river Elbe, near Dresden. These were probably incorporated into The Sea of Ice.The image created a lasting impression on the French sculptor David d'Angers during his visit to Dresden in 1834, which he described as follows:The painting has been known by several different names. In the catalogue of Friedrich's estate compiled following his death, it was called Ice Picture. The Disaster-stricken North Pole Expedition.

Prompt: 氷の海に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

David d'Angers
Dresden
Elbe
Johann Gottlob von Quandt
Johann Martin von Rohden
Northwest Passage
Vasily Zhukovsky
William Edward Parry


section

氷の海

The collector Johann Gottlob von Quandt commissioned two pictures that were to symbolize the south and the north. Johann Martin von Rohden received the commission to paint Southern Nature in her Abundant and Majestic Splendor, while the commission for Northern Nature in the whole of her Terrifying Beauty fell to Friedrich. However, as Vasily Zhukovsky in a letter dated 1821 reported, Friedrich –Accounts of expeditions to the North Pole were occasionally published during those years which is probably how Friedrich became familiar with William Edward Parry's 1819–1820 expedition to find the Northwest Passage. In the winter of 1820–21, Friedrich made extensive oil studies of ice floes on the river Elbe, near Dresden. These were probably incorporated into The Sea of Ice.The image created a lasting impression on the French sculptor David d'Angers during his visit to Dresden in 1834, which he described as follows:The painting has been known by several different names. In the catalogue of Friedrich's estate compiled following his death, it was called Ice Picture. The Disaster-stricken North Pole Expedition.

Prompt: 氷の海の歴史を説明してください。英語で出力して下さい。

David d'Angers
Dresden
Elbe
Johann Gottlob von Quandt
Johann Martin von Rohden
Northwest Passage
Vasily Zhukovsky
William Edward Parry


section

氷の海

The collector Johann Gottlob von Quandt commissioned two pictures that were to symbolize the south and the north. Johann Martin von Rohden received the commission to paint Southern Nature in her Abundant and Majestic Splendor, while the commission for Northern Nature in the whole of her Terrifying Beauty fell to Friedrich. However, as Vasily Zhukovsky in a letter dated 1821 reported, Friedrich –Accounts of expeditions to the North Pole were occasionally published during those years which is probably how Friedrich became familiar with William Edward Parry's 1819–1820 expedition to find the Northwest Passage. In the winter of 1820–21, Friedrich made extensive oil studies of ice floes on the river Elbe, near Dresden. These were probably incorporated into The Sea of Ice.The image created a lasting impression on the French sculptor David d'Angers during his visit to Dresden in 1834, which he described as follows:The painting has been known by several different names. In the catalogue of Friedrich's estate compiled following his death, it was called Ice Picture. The Disaster-stricken North Pole Expedition.

Prompt: 氷の海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。

David d'Angers
Dresden
Elbe
Johann Gottlob von Quandt
Johann Martin von Rohden
Northwest Passage
Vasily Zhukovsky
William Edward Parry


section

氷の海

The collector Johann Gottlob von Quandt commissioned two pictures that were to symbolize the south and the north. Johann Martin von Rohden received the commission to paint Southern Nature in her Abundant and Majestic Splendor, while the commission for Northern Nature in the whole of her Terrifying Beauty fell to Friedrich. However, as Vasily Zhukovsky in a letter dated 1821 reported, Friedrich –Accounts of expeditions to the North Pole were occasionally published during those years which is probably how Friedrich became familiar with William Edward Parry's 1819–1820 expedition to find the Northwest Passage. In the winter of 1820–21, Friedrich made extensive oil studies of ice floes on the river Elbe, near Dresden. These were probably incorporated into The Sea of Ice.The image created a lasting impression on the French sculptor David d'Angers during his visit to Dresden in 1834, which he described as follows:The painting has been known by several different names. In the catalogue of Friedrich's estate compiled following his death, it was called Ice Picture. The Disaster-stricken North Pole Expedition.

Prompt: 氷の海に関して、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。

David d'Angers
Dresden
Elbe
Johann Gottlob von Quandt
Johann Martin von Rohden
Northwest Passage
Vasily Zhukovsky
William Edward Parry


section

氷の海

The Sea of Ice was composed in one of Friedrich's studios near Dresden. This painting is clearly based on the Arctic, though Friedrich had never visited the Arctic. It has been suggested that Friedrich gained his knowledge about the Arctic from the William Edward Parry's expedition. However, because there were multiple reports and articles about the Arctic in Germany, it has never been confirmed that Friedrich used Parry's expedition to paint The Sea of Ice. Friedrich also gained knowledge about icebergs through studying them on the Elbe.The Sea of Ice represents what Friedrich believes the Arctic looks like. In the foreground of the painting there are small icebergs layered on top of each other, which makes them almost look like steps. In the background, however, the icebergs are crushed together to form a tower of ice. These icebergs are very large and suggest something terrible has happened. Right next to this massive ice tower is a minuscule detail that is not the subject of the painting. It is a shipwreck.

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

Arctic
Dresden
Elbe
William Edward Parry


section

氷の海

The Sea of Ice was composed in one of Friedrich's studios near Dresden. This painting is clearly based on the Arctic, though Friedrich had never visited the Arctic. It has been suggested that Friedrich gained his knowledge about the Arctic from the William Edward Parry's expedition. However, because there were multiple reports and articles about the Arctic in Germany, it has never been confirmed that Friedrich used Parry's expedition to paint The Sea of Ice. Friedrich also gained knowledge about icebergs through studying them on the Elbe.The Sea of Ice represents what Friedrich believes the Arctic looks like. In the foreground of the painting there are small icebergs layered on top of each other, which makes them almost look like steps. In the background, however, the icebergs are crushed together to form a tower of ice. These icebergs are very large and suggest something terrible has happened. Right next to this massive ice tower is a minuscule detail that is not the subject of the painting. It is a shipwreck.

Prompt: 氷の海の説明を説明してください。英語で出力して下さい。

Arctic
Dresden
Elbe
William Edward Parry


section

氷の海

The Sea of Ice was composed in one of Friedrich's studios near Dresden. This painting is clearly based on the Arctic, though Friedrich had never visited the Arctic. It has been suggested that Friedrich gained his knowledge about the Arctic from the William Edward Parry's expedition. However, because there were multiple reports and articles about the Arctic in Germany, it has never been confirmed that Friedrich used Parry's expedition to paint The Sea of Ice. Friedrich also gained knowledge about icebergs through studying them on the Elbe.The Sea of Ice represents what Friedrich believes the Arctic looks like. In the foreground of the painting there are small icebergs layered on top of each other, which makes them almost look like steps. In the background, however, the icebergs are crushed together to form a tower of ice. These icebergs are very large and suggest something terrible has happened. Right next to this massive ice tower is a minuscule detail that is not the subject of the painting. It is a shipwreck.

Prompt: 氷の海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。

Arctic
Dresden
Elbe
William Edward Parry


section

氷の海

The Sea of Ice was composed in one of Friedrich's studios near Dresden. This painting is clearly based on the Arctic, though Friedrich had never visited the Arctic. It has been suggested that Friedrich gained his knowledge about the Arctic from the William Edward Parry's expedition. However, because there were multiple reports and articles about the Arctic in Germany, it has never been confirmed that Friedrich used Parry's expedition to paint The Sea of Ice. Friedrich also gained knowledge about icebergs through studying them on the Elbe.The Sea of Ice represents what Friedrich believes the Arctic looks like. In the foreground of the painting there are small icebergs layered on top of each other, which makes them almost look like steps. In the background, however, the icebergs are crushed together to form a tower of ice. These icebergs are very large and suggest something terrible has happened. Right next to this massive ice tower is a minuscule detail that is not the subject of the painting. It is a shipwreck.

Prompt: 氷の海に関して、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。

Arctic
Dresden
Elbe
William Edward Parry


section

氷の海

The shipwreck in The Sea of Ice suggests the idea that nature will always be superior to men. Ice is a place of death and nature will always defeat anyone who tries to intrude on it.There is a theory that Friedrich painted this piece as a commentary on Germany. Just as the ship is frozen in ice, Germany is considered to be a frozen wasteland politically with no hope for improvement.

Prompt: 氷の海に焦点を当てて、その分析を説明してください。英語で出力して下さい。


section

氷の海

The shipwreck in The Sea of Ice suggests the idea that nature will always be superior to men. Ice is a place of death and nature will always defeat anyone who tries to intrude on it.There is a theory that Friedrich painted this piece as a commentary on Germany. Just as the ship is frozen in ice, Germany is considered to be a frozen wasteland politically with no hope for improvement.

Prompt: 氷の海の分析を説明してください。英語で出力して下さい。


section

氷の海

The shipwreck in The Sea of Ice suggests the idea that nature will always be superior to men. Ice is a place of death and nature will always defeat anyone who tries to intrude on it.There is a theory that Friedrich painted this piece as a commentary on Germany. Just as the ship is frozen in ice, Germany is considered to be a frozen wasteland politically with no hope for improvement.

Prompt: 氷の海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。


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氷の海

The shipwreck in The Sea of Ice suggests the idea that nature will always be superior to men. Ice is a place of death and nature will always defeat anyone who tries to intrude on it.There is a theory that Friedrich painted this piece as a commentary on Germany. Just as the ship is frozen in ice, Germany is considered to be a frozen wasteland politically with no hope for improvement.

Prompt: 氷の海に関して、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。


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氷の海

The theory of the sublime combines the emotion of horror and pleasure. The main theorists of the sublime are Edmund Burke, Immanuel Kant, and Friedrich Schiller. Nature has always been associated with the idea of the sublime. Towards the end of the 18th century, paintings of the Arctic were associated with the sublime. There has, however, been debate about whether or not the painting The Sea of Ice belongs to the category of the sublime. The shards of ice may convey danger, but they can also be seen as beautiful. One reason why there has been debate about whether or not this painting fits the sublime is that it is not clear if the viewer can actually be a part of the painting, which is a major element of the sublime.

Prompt: 氷の海に焦点を当てて、その崇高を説明してください。英語で出力して下さい。

Arctic
Edmund Burke
Friedrich Schiller
Immanuel Kant


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氷の海

The theory of the sublime combines the emotion of horror and pleasure. The main theorists of the sublime are Edmund Burke, Immanuel Kant, and Friedrich Schiller. Nature has always been associated with the idea of the sublime. Towards the end of the 18th century, paintings of the Arctic were associated with the sublime. There has, however, been debate about whether or not the painting The Sea of Ice belongs to the category of the sublime. The shards of ice may convey danger, but they can also be seen as beautiful. One reason why there has been debate about whether or not this painting fits the sublime is that it is not clear if the viewer can actually be a part of the painting, which is a major element of the sublime.

Prompt: 氷の海の崇高を説明してください。英語で出力して下さい。

Arctic
Edmund Burke
Friedrich Schiller
Immanuel Kant


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氷の海

The theory of the sublime combines the emotion of horror and pleasure. The main theorists of the sublime are Edmund Burke, Immanuel Kant, and Friedrich Schiller. Nature has always been associated with the idea of the sublime. Towards the end of the 18th century, paintings of the Arctic were associated with the sublime. There has, however, been debate about whether or not the painting The Sea of Ice belongs to the category of the sublime. The shards of ice may convey danger, but they can also be seen as beautiful. One reason why there has been debate about whether or not this painting fits the sublime is that it is not clear if the viewer can actually be a part of the painting, which is a major element of the sublime.

Prompt: 氷の海はどのように崇高を説明していますか？英語で出力して下さい。

Arctic
Edmund Burke
Friedrich Schiller
Immanuel Kant


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氷の海

The theory of the sublime combines the emotion of horror and pleasure. The main theorists of the sublime are Edmund Burke, Immanuel Kant, and Friedrich Schiller. Nature has always been associated with the idea of the sublime. Towards the end of the 18th century, paintings of the Arctic were associated with the sublime. There has, however, been debate about whether or not the painting The Sea of Ice belongs to the category of the sublime. The shards of ice may convey danger, but they can also be seen as beautiful. One reason why there has been debate about whether or not this painting fits the sublime is that it is not clear if the viewer can actually be a part of the painting, which is a major element of the sublime.

Prompt: 氷の海に関して、どのように崇高が議論されていますか？英語で出力して下さい。

Arctic
Edmund Burke
Friedrich Schiller
Immanuel Kant


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氷の海

The painting has been hailed by critic Russell Potter as a key instance of the "Arctic Sublime", and an influence on later nineteenth-century polar paintings.The painting inspired Paul Nash's 1941 work Totes Meer . It also proved influential upon the arctic landscapes of wren Harris.Architect Thom Mayne references The Sea of Ice as a primary influence on his approach to the dynamic relationship between architecture, landscape, and nature. It possibly served as an inspiration for the Sydney Opera House.The outdoor, free-floating sculpture She Lies by Monica Bonvicini is a three-dimensional interpretation of the original Friedrich painting installed in the Oslo fjord next to the Oslo Opera House. The sculpture opened in May 2010 and has become one of the tourist attractions in downtown Oslo.

Prompt: 氷の海に焦点を当てて、その影響を説明してください。英語で出力して下さい。

Arctic
Monica Bonvicini
Oslo Opera House
Russell Potter
She Lies
Sydney Opera House
Thom Mayne
Totes Meer


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氷の海

The painting has been hailed by critic Russell Potter as a key instance of the "Arctic Sublime", and an influence on later nineteenth-century polar paintings.The painting inspired Paul Nash's 1941 work Totes Meer . It also proved influential upon the arctic landscapes of wren Harris.Architect Thom Mayne references The Sea of Ice as a primary influence on his approach to the dynamic relationship between architecture, landscape, and nature. It possibly served as an inspiration for the Sydney Opera House.The outdoor, free-floating sculpture She Lies by Monica Bonvicini is a three-dimensional interpretation of the original Friedrich painting installed in the Oslo fjord next to the Oslo Opera House. The sculpture opened in May 2010 and has become one of the tourist attractions in downtown Oslo.

Prompt: 氷の海の影響を説明してください。英語で出力して下さい。

Arctic
Monica Bonvicini
Oslo Opera House
Russell Potter
She Lies
Sydney Opera House
Thom Mayne
Totes Meer


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氷の海

The painting has been hailed by critic Russell Potter as a key instance of the "Arctic Sublime", and an influence on later nineteenth-century polar paintings.The painting inspired Paul Nash's 1941 work Totes Meer . It also proved influential upon the arctic landscapes of wren Harris.Architect Thom Mayne references The Sea of Ice as a primary influence on his approach to the dynamic relationship between architecture, landscape, and nature. It possibly served as an inspiration for the Sydney Opera House.The outdoor, free-floating sculpture She Lies by Monica Bonvicini is a three-dimensional interpretation of the original Friedrich painting installed in the Oslo fjord next to the Oslo Opera House. The sculpture opened in May 2010 and has become one of the tourist attractions in downtown Oslo.

Prompt: 氷の海はどのように影響を説明していますか？英語で出力して下さい。

Arctic
Monica Bonvicini
Oslo Opera House
Russell Potter
She Lies
Sydney Opera House
Thom Mayne
Totes Meer


section

氷の海

The painting has been hailed by critic Russell Potter as a key instance of the "Arctic Sublime", and an influence on later nineteenth-century polar paintings.The painting inspired Paul Nash's 1941 work Totes Meer . It also proved influential upon the arctic landscapes of wren Harris.Architect Thom Mayne references The Sea of Ice as a primary influence on his approach to the dynamic relationship between architecture, landscape, and nature. It possibly served as an inspiration for the Sydney Opera House.The outdoor, free-floating sculpture She Lies by Monica Bonvicini is a three-dimensional interpretation of the original Friedrich painting installed in the Oslo fjord next to the Oslo Opera House. The sculpture opened in May 2010 and has become one of the tourist attractions in downtown Oslo.

Prompt: 氷の海に関して、どのように影響が議論されていますか？英語で出力して下さい。

Arctic
Monica Bonvicini
Oslo Opera House
Russell Potter
She Lies
Sydney Opera House
Thom Mayne
Totes Meer


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氷の海

Prompt: 氷の海に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Caspar David Friedrich
List of works by Caspar David Friedrich


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氷の海

Prompt: 氷の海の参照を説明してください。英語で出力して下さい。

Caspar David Friedrich
List of works by Caspar David Friedrich


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氷の海

Prompt: 氷の海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。

Caspar David Friedrich
List of works by Caspar David Friedrich


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氷の海

Prompt: 氷の海に関して、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。

Caspar David Friedrich
List of works by Caspar David Friedrich


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氷の海

Grave, Johannes.  [2012]. Caspar David Friedrich . London/New York: Prestel. ISBN 978-3-7913-8357-6.

Prompt: 氷の海に焦点を当てて、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

氷の海

Grave, Johannes.  [2012]. Caspar David Friedrich . London/New York: Prestel. ISBN 978-3-7913-8357-6.

Prompt: 氷の海の参考文献を説明してください。英語で出力して下さい。