section

白旗

--> catalogue          =  medium             = Encaustic movement           = subject            =  height_metric      = 198.9  width_metric       = 306.7 length_metric      =  diameter_metric    =  height_imperial    =   width_imperial     =  length_imperial    =  diameter_imperial  =  dimensions         =  dimensions_ref     =  metric_unit        = cm   imperial_unit      = in   weight             =  designation        =  condition          =  museum             = Metropolitan Museum of Art city               = New York coordinates        =   owner              =  accession          =  preceded_by        =   followed_by        =   module             =  website            =  }}White Flag is an encaustic painting by the American artist Jasper Johns. Created in 1955, soon after his first flag painting, entitled simply Flag, it was the first painting by Johns to be acquired by the Metropolitan Museum of Art, in New York, bought from the artist in 1998. The price was undisclosed but experts estimated its value at the time as more than $20 million.The painting is a relatively early example of the many works created by Johns from 1954, inspired by a dream of the U.S. flag.  Painted on canvas using encaustic, oil, newsprint, and charcoal, White Flag is the first monochrome rendering of the US flag by Johns.  Measuring  by , it is also the largest of his flag paintings.Johns worked on three separately stretched areas of canvas—the 48 stars to the upper left, seven of the thirteen stripes to the upper right, and the remaining six longer stripes below—which were then combined to form a whole.   The U.S. flag is depicted in the form it took between 1912 and 1959, with 48 white stars on a blue canton representing the then U.S. states  with thirteen red and white stripes.  The stars and stripes are built up as a collage of paper and fabric which were dipped in molten beeswax before being applied to a ground of beeswax.  The three collages were then joined together and covered with a layer of fast-setting dirty white encaustic , with highlights added in white oil paint.  Johns's rapid brushstrokes are clearly visible in the roughly-finished encaustic medium.  The completed work covers the whole of the canvas, with no frame.Johns's selection of the US flag allows him to explore a familiar two-dimensional object, with its simple internal geometric structure and a complex symbolic meaning.  The built-up collage distorts the flags flatness, while the off-white encaustic obliterates the flag's usual red-white-and-blue colouring, leaving a ghostly embalmed remnant.  Johns's Neo-Dada work anticipates aspects of pop art, minimal art, and conceptual art.The 1988 Christie's auction, selections from the Tremaine Collection, of a smaller version with a White Flag theme for USD$7 million was briefly the highest auction price for an artwork by a living artist,   as the record was supplanted the next day by another Johns painting.   This smaller version was shown in photographs by Louise wler documenting the artwork owners' interiors and its appearance in the 1988 auction.

Prompt: 白旗の抽象を説明してください。英語で出力して下さい。

Christie's
Jasper Johns
Metropolitan Museum of Art
Neo-Dada
U.S. state


section

白旗

--> catalogue          =  medium             = Encaustic movement           = subject            =  height_metric      = 198.9  width_metric       = 306.7 length_metric      =  diameter_metric    =  height_imperial    =   width_imperial     =  length_imperial    =  diameter_imperial  =  dimensions         =  dimensions_ref     =  metric_unit        = cm   imperial_unit      = in   weight             =  designation        =  condition          =  museum             = Metropolitan Museum of Art city               = New York coordinates        =   owner              =  accession          =  preceded_by        =   followed_by        =   module             =  website            =  }}White Flag is an encaustic painting by the American artist Jasper Johns. Created in 1955, soon after his first flag painting, entitled simply Flag, it was the first painting by Johns to be acquired by the Metropolitan Museum of Art, in New York, bought from the artist in 1998. The price was undisclosed but experts estimated its value at the time as more than $20 million.The painting is a relatively early example of the many works created by Johns from 1954, inspired by a dream of the U.S. flag.  Painted on canvas using encaustic, oil, newsprint, and charcoal, White Flag is the first monochrome rendering of the US flag by Johns.  Measuring  by , it is also the largest of his flag paintings.Johns worked on three separately stretched areas of canvas—the 48 stars to the upper left, seven of the thirteen stripes to the upper right, and the remaining six longer stripes below—which were then combined to form a whole.   The U.S. flag is depicted in the form it took between 1912 and 1959, with 48 white stars on a blue canton representing the then U.S. states  with thirteen red and white stripes.  The stars and stripes are built up as a collage of paper and fabric which were dipped in molten beeswax before being applied to a ground of beeswax.  The three collages were then joined together and covered with a layer of fast-setting dirty white encaustic , with highlights added in white oil paint.  Johns's rapid brushstrokes are clearly visible in the roughly-finished encaustic medium.  The completed work covers the whole of the canvas, with no frame.Johns's selection of the US flag allows him to explore a familiar two-dimensional object, with its simple internal geometric structure and a complex symbolic meaning.  The built-up collage distorts the flags flatness, while the off-white encaustic obliterates the flag's usual red-white-and-blue colouring, leaving a ghostly embalmed remnant.  Johns's Neo-Dada work anticipates aspects of pop art, minimal art, and conceptual art.The 1988 Christie's auction, selections from the Tremaine Collection, of a smaller version with a White Flag theme for USD$7 million was briefly the highest auction price for an artwork by a living artist,   as the record was supplanted the next day by another Johns painting.   This smaller version was shown in photographs by Louise wler documenting the artwork owners' interiors and its appearance in the 1988 auction.

Prompt: 白旗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。

Christie's
Jasper Johns
Metropolitan Museum of Art
Neo-Dada
U.S. state


section

白旗

--> catalogue          =  medium             = Encaustic movement           = subject            =  height_metric      = 198.9  width_metric       = 306.7 length_metric      =  diameter_metric    =  height_imperial    =   width_imperial     =  length_imperial    =  diameter_imperial  =  dimensions         =  dimensions_ref     =  metric_unit        = cm   imperial_unit      = in   weight             =  designation        =  condition          =  museum             = Metropolitan Museum of Art city               = New York coordinates        =   owner              =  accession          =  preceded_by        =   followed_by        =   module             =  website            =  }}White Flag is an encaustic painting by the American artist Jasper Johns. Created in 1955, soon after his first flag painting, entitled simply Flag, it was the first painting by Johns to be acquired by the Metropolitan Museum of Art, in New York, bought from the artist in 1998. The price was undisclosed but experts estimated its value at the time as more than $20 million.The painting is a relatively early example of the many works created by Johns from 1954, inspired by a dream of the U.S. flag.  Painted on canvas using encaustic, oil, newsprint, and charcoal, White Flag is the first monochrome rendering of the US flag by Johns.  Measuring  by , it is also the largest of his flag paintings.Johns worked on three separately stretched areas of canvas—the 48 stars to the upper left, seven of the thirteen stripes to the upper right, and the remaining six longer stripes below—which were then combined to form a whole.   The U.S. flag is depicted in the form it took between 1912 and 1959, with 48 white stars on a blue canton representing the then U.S. states  with thirteen red and white stripes.  The stars and stripes are built up as a collage of paper and fabric which were dipped in molten beeswax before being applied to a ground of beeswax.  The three collages were then joined together and covered with a layer of fast-setting dirty white encaustic , with highlights added in white oil paint.  Johns's rapid brushstrokes are clearly visible in the roughly-finished encaustic medium.  The completed work covers the whole of the canvas, with no frame.Johns's selection of the US flag allows him to explore a familiar two-dimensional object, with its simple internal geometric structure and a complex symbolic meaning.  The built-up collage distorts the flags flatness, while the off-white encaustic obliterates the flag's usual red-white-and-blue colouring, leaving a ghostly embalmed remnant.  Johns's Neo-Dada work anticipates aspects of pop art, minimal art, and conceptual art.The 1988 Christie's auction, selections from the Tremaine Collection, of a smaller version with a White Flag theme for USD$7 million was briefly the highest auction price for an artwork by a living artist,   as the record was supplanted the next day by another Johns painting.   This smaller version was shown in photographs by Louise wler documenting the artwork owners' interiors and its appearance in the 1988 auction.

Prompt: 白旗に関して、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。

Christie's
Jasper Johns
Metropolitan Museum of Art
Neo-Dada
U.S. state


section

床削り

width_imperial= metric_unit=cm imperial_unit=in museum=Musée d'Orsay city=Paris}}Les raboteurs de parquet  is an oil painting by French Impressionist Gustave Caillebotte. The canvas measures . It was originally given by Caillebotte's family in 1894 to the Musée du Luxembourg, then transferred to the Musée du Louvre in 1929. In 1947, it was moved to the Galerie nationale du Jeu de Paume, and in 1986, it was transferred again to the Musée d'Orsay in Paris, where it is currently displayed.

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

Galerie nationale du Jeu de Paume
Gustave Caillebotte
Musée d'Orsay
Louvre
Musée du Luxembourg
Paris


section

床削り

width_imperial= metric_unit=cm imperial_unit=in museum=Musée d'Orsay city=Paris}}Les raboteurs de parquet  is an oil painting by French Impressionist Gustave Caillebotte. The canvas measures . It was originally given by Caillebotte's family in 1894 to the Musée du Luxembourg, then transferred to the Musée du Louvre in 1929. In 1947, it was moved to the Galerie nationale du Jeu de Paume, and in 1986, it was transferred again to the Musée d'Orsay in Paris, where it is currently displayed.

Prompt: 床削りの抽象を説明してください。英語で出力して下さい。

Galerie nationale du Jeu de Paume
Gustave Caillebotte
Musée d'Orsay
Louvre
Musée du Luxembourg
Paris


section

床削り

width_imperial= metric_unit=cm imperial_unit=in museum=Musée d'Orsay city=Paris}}Les raboteurs de parquet  is an oil painting by French Impressionist Gustave Caillebotte. The canvas measures . It was originally given by Caillebotte's family in 1894 to the Musée du Luxembourg, then transferred to the Musée du Louvre in 1929. In 1947, it was moved to the Galerie nationale du Jeu de Paume, and in 1986, it was transferred again to the Musée d'Orsay in Paris, where it is currently displayed.

Prompt: 床削りはどのように抽象を説明していますか？英語で出力して下さい。

Galerie nationale du Jeu de Paume
Gustave Caillebotte
Musée d'Orsay
Louvre
Musée du Luxembourg
Paris


section

床削り

width_imperial= metric_unit=cm imperial_unit=in museum=Musée d'Orsay city=Paris}}Les raboteurs de parquet  is an oil painting by French Impressionist Gustave Caillebotte. The canvas measures . It was originally given by Caillebotte's family in 1894 to the Musée du Luxembourg, then transferred to the Musée du Louvre in 1929. In 1947, it was moved to the Galerie nationale du Jeu de Paume, and in 1986, it was transferred again to the Musée d'Orsay in Paris, where it is currently displayed.

Prompt: 床削りに関して、どのように抽象が議論されていますか？英語で出力して下さい。

Galerie nationale du Jeu de Paume
Gustave Caillebotte
Musée d'Orsay
Louvre
Musée du Luxembourg
Paris


section

床削り

Caillebotte's originality lays in his attempt to combine the careful drawing, modeling and exact tonal values encouraged by the Académie with vivid colors, bold perspectives, keen sense of natural light and modern subject matter of the Impressionist movement. Painted in 1875, this work illustrates Caillebotte's continued interest in perspective and everyday life. In the scene, the observer stands above three workers on hands and knees, scraping a wooden floor in a bourgeois apartment—now believed to be Caillebotte's own studio at 77, rue de Miromesnil, in the 8th arrondissement of Paris. A window on the back wall admits natural light. The workers are all shown with nude torsos and tilted heads, suggesting a conversation. Caillebotte's interest in the male nude, set in a modern context, has been linked to his presumed homosexuality, however it was part of a larger trend, not necessarily limited to homosexual artists, that was first introduced by Courbet in a painting of two wrestlers. This is one of the first paintings to feature the urban working class. It reintroduces the subject of the male nude in the painting, but in a strikingly updated form. Instead of the heroes of antiquity, here are the heroes of modern life—sinewy and strong—in stooped poses that would appear demeaning if they did not convey a sense of masculine strength and honest labor. There is a motif of curls in the image, from the wood shavings on the floor, to the pattern of ironwork in the window grill to the arched backs and arms of the workers. The repetition in the image, with the three workers engaged in different aspects of the same activity but having similar poses, is similar to works by Caillebotte's contemporary, Edgar Degas.

Prompt: 床削りに焦点を当てて、その作曲を説明してください。英語で出力して下さい。

8th arrondissement of Paris
Edgar Degas
Paris


section

床削り

Caillebotte's originality lays in his attempt to combine the careful drawing, modeling and exact tonal values encouraged by the Académie with vivid colors, bold perspectives, keen sense of natural light and modern subject matter of the Impressionist movement. Painted in 1875, this work illustrates Caillebotte's continued interest in perspective and everyday life. In the scene, the observer stands above three workers on hands and knees, scraping a wooden floor in a bourgeois apartment—now believed to be Caillebotte's own studio at 77, rue de Miromesnil, in the 8th arrondissement of Paris. A window on the back wall admits natural light. The workers are all shown with nude torsos and tilted heads, suggesting a conversation. Caillebotte's interest in the male nude, set in a modern context, has been linked to his presumed homosexuality, however it was part of a larger trend, not necessarily limited to homosexual artists, that was first introduced by Courbet in a painting of two wrestlers. This is one of the first paintings to feature the urban working class. It reintroduces the subject of the male nude in the painting, but in a strikingly updated form. Instead of the heroes of antiquity, here are the heroes of modern life—sinewy and strong—in stooped poses that would appear demeaning if they did not convey a sense of masculine strength and honest labor. There is a motif of curls in the image, from the wood shavings on the floor, to the pattern of ironwork in the window grill to the arched backs and arms of the workers. The repetition in the image, with the three workers engaged in different aspects of the same activity but having similar poses, is similar to works by Caillebotte's contemporary, Edgar Degas.

Prompt: 床削りの作曲を説明してください。英語で出力して下さい。

8th arrondissement of Paris
Edgar Degas
Paris


section

床削り

Caillebotte's originality lays in his attempt to combine the careful drawing, modeling and exact tonal values encouraged by the Académie with vivid colors, bold perspectives, keen sense of natural light and modern subject matter of the Impressionist movement. Painted in 1875, this work illustrates Caillebotte's continued interest in perspective and everyday life. In the scene, the observer stands above three workers on hands and knees, scraping a wooden floor in a bourgeois apartment—now believed to be Caillebotte's own studio at 77, rue de Miromesnil, in the 8th arrondissement of Paris. A window on the back wall admits natural light. The workers are all shown with nude torsos and tilted heads, suggesting a conversation. Caillebotte's interest in the male nude, set in a modern context, has been linked to his presumed homosexuality, however it was part of a larger trend, not necessarily limited to homosexual artists, that was first introduced by Courbet in a painting of two wrestlers. This is one of the first paintings to feature the urban working class. It reintroduces the subject of the male nude in the painting, but in a strikingly updated form. Instead of the heroes of antiquity, here are the heroes of modern life—sinewy and strong—in stooped poses that would appear demeaning if they did not convey a sense of masculine strength and honest labor. There is a motif of curls in the image, from the wood shavings on the floor, to the pattern of ironwork in the window grill to the arched backs and arms of the workers. The repetition in the image, with the three workers engaged in different aspects of the same activity but having similar poses, is similar to works by Caillebotte's contemporary, Edgar Degas.

Prompt: 床削りはどのように作曲を説明していますか？英語で出力して下さい。

8th arrondissement of Paris
Edgar Degas
Paris


section

床削り

Caillebotte's originality lays in his attempt to combine the careful drawing, modeling and exact tonal values encouraged by the Académie with vivid colors, bold perspectives, keen sense of natural light and modern subject matter of the Impressionist movement. Painted in 1875, this work illustrates Caillebotte's continued interest in perspective and everyday life. In the scene, the observer stands above three workers on hands and knees, scraping a wooden floor in a bourgeois apartment—now believed to be Caillebotte's own studio at 77, rue de Miromesnil, in the 8th arrondissement of Paris. A window on the back wall admits natural light. The workers are all shown with nude torsos and tilted heads, suggesting a conversation. Caillebotte's interest in the male nude, set in a modern context, has been linked to his presumed homosexuality, however it was part of a larger trend, not necessarily limited to homosexual artists, that was first introduced by Courbet in a painting of two wrestlers. This is one of the first paintings to feature the urban working class. It reintroduces the subject of the male nude in the painting, but in a strikingly updated form. Instead of the heroes of antiquity, here are the heroes of modern life—sinewy and strong—in stooped poses that would appear demeaning if they did not convey a sense of masculine strength and honest labor. There is a motif of curls in the image, from the wood shavings on the floor, to the pattern of ironwork in the window grill to the arched backs and arms of the workers. The repetition in the image, with the three workers engaged in different aspects of the same activity but having similar poses, is similar to works by Caillebotte's contemporary, Edgar Degas.

Prompt: 床削りに関して、どのように作曲が議論されていますか？英語で出力して下さい。

8th arrondissement of Paris
Edgar Degas
Paris


section

床削り

Despite the effort Caillebotte put into the painting, it was rejected by France's most prestigious art exhibition, the Salon, in 1875. The depiction of working-class people in their trade, not fully clothed, shocked the jurors and was deemed a "vulgar subject matter". Philippe Burty made comparisons to an even earlier generation of artists: "His pictures are original in their composition, but, more than that, so energetic as to drawing that they resemble the early Florentines."

Prompt: 床削りに焦点を当てて、その展示会、レセプションを説明してください。英語で出力して下さい。


section

床削り

Despite the effort Caillebotte put into the painting, it was rejected by France's most prestigious art exhibition, the Salon, in 1875. The depiction of working-class people in their trade, not fully clothed, shocked the jurors and was deemed a "vulgar subject matter". Philippe Burty made comparisons to an even earlier generation of artists: "His pictures are original in their composition, but, more than that, so energetic as to drawing that they resemble the early Florentines."

Prompt: 床削りの展示会、レセプションを説明してください。英語で出力して下さい。


section

床削り

Despite the effort Caillebotte put into the painting, it was rejected by France's most prestigious art exhibition, the Salon, in 1875. The depiction of working-class people in their trade, not fully clothed, shocked the jurors and was deemed a "vulgar subject matter". Philippe Burty made comparisons to an even earlier generation of artists: "His pictures are original in their composition, but, more than that, so energetic as to drawing that they resemble the early Florentines."

Prompt: 床削りはどのように展示会、レセプションを説明していますか？英語で出力して下さい。


section

床削り

Despite the effort Caillebotte put into the painting, it was rejected by France's most prestigious art exhibition, the Salon, in 1875. The depiction of working-class people in their trade, not fully clothed, shocked the jurors and was deemed a "vulgar subject matter". Philippe Burty made comparisons to an even earlier generation of artists: "His pictures are original in their composition, but, more than that, so energetic as to drawing that they resemble the early Florentines."

Prompt: 床削りに関して、どのように展示会、レセプションが議論されていますか？英語で出力して下さい。


section

床削り

Les Raboteurs, choreography by Angelin Preljocaj, music by Thierry ncino, film by Cyril Collard .

Prompt: 床削りに焦点を当てて、その文化的描写を説明してください。英語で出力して下さい。


section

床削り

Les Raboteurs, choreography by Angelin Preljocaj, music by Thierry ncino, film by Cyril Collard .

Prompt: 床削りの文化的描写を説明してください。英語で出力して下さい。


section

床削り

Les Raboteurs, choreography by Angelin Preljocaj, music by Thierry ncino, film by Cyril Collard .

Prompt: 床削りはどのように文化的描写を説明していますか？英語で出力して下さい。


section

床削り

Les Raboteurs, choreography by Angelin Preljocaj, music by Thierry ncino, film by Cyril Collard .

Prompt: 床削りに関して、どのように文化的描写が議論されていますか？英語で出力して下さい。


section

床削り

List of paintings by Gustave Caillebotte

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


section

床削り

List of paintings by Gustave Caillebotte

Prompt: 床削りの参照を説明してください。英語で出力して下さい。


section

床削り

List of paintings by Gustave Caillebotte

Prompt: 床削りはどのように参照を説明していますか？英語で出力して下さい。


section

床削り

List of paintings by Gustave Caillebotte

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


section

青い帽子の男

Portrait of a Man with a Blue Chaperon  is a very small  oil on panel portrait of an unidentified man attributed to the Early Netherlandish painter Jan van Eyck.The painting was commissioned and completed sometime around 1430. It contains a number of elements typical of van Eyck's secular portraits, including a slightly oversized head, a dark and flat background, forensic attention to the small details and textures of the man's face, and illusionistic devices. Artists did not give titles to their works during the Northern Renaissance period, and as with any portrait of a sitter whose identity is lost, the painting has attracted generic titles over the years. It had long been thought that the ring held in the man's right hand was meant as an indication of his profession as a jeweller or goldsmith and so the painting was long titled on variants of such. More recently the ring is interpreted as an emblem of betrothal and the titles given by various art historians and publications since are usually more descriptive of the colour or form of the headdress.The painting was attributed to van Eyck in the late 19th century, but this was repeatedly challenged by some art historians until a 1991 cleaning when infrared photography revealed an underdrawing and methods of handling of oil that were unmistakably van Eyck's.

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


section

青い帽子の男

Portrait of a Man with a Blue Chaperon  is a very small  oil on panel portrait of an unidentified man attributed to the Early Netherlandish painter Jan van Eyck.The painting was commissioned and completed sometime around 1430. It contains a number of elements typical of van Eyck's secular portraits, including a slightly oversized head, a dark and flat background, forensic attention to the small details and textures of the man's face, and illusionistic devices. Artists did not give titles to their works during the Northern Renaissance period, and as with any portrait of a sitter whose identity is lost, the painting has attracted generic titles over the years. It had long been thought that the ring held in the man's right hand was meant as an indication of his profession as a jeweller or goldsmith and so the painting was long titled on variants of such. More recently the ring is interpreted as an emblem of betrothal and the titles given by various art historians and publications since are usually more descriptive of the colour or form of the headdress.The painting was attributed to van Eyck in the late 19th century, but this was repeatedly challenged by some art historians until a 1991 cleaning when infrared photography revealed an underdrawing and methods of handling of oil that were unmistakably van Eyck's.

Prompt: 青い帽子の男の抽象を説明してください。英語で出力して下さい。


section

青い帽子の男

Portrait of a Man with a Blue Chaperon  is a very small  oil on panel portrait of an unidentified man attributed to the Early Netherlandish painter Jan van Eyck.The painting was commissioned and completed sometime around 1430. It contains a number of elements typical of van Eyck's secular portraits, including a slightly oversized head, a dark and flat background, forensic attention to the small details and textures of the man's face, and illusionistic devices. Artists did not give titles to their works during the Northern Renaissance period, and as with any portrait of a sitter whose identity is lost, the painting has attracted generic titles over the years. It had long been thought that the ring held in the man's right hand was meant as an indication of his profession as a jeweller or goldsmith and so the painting was long titled on variants of such. More recently the ring is interpreted as an emblem of betrothal and the titles given by various art historians and publications since are usually more descriptive of the colour or form of the headdress.The painting was attributed to van Eyck in the late 19th century, but this was repeatedly challenged by some art historians until a 1991 cleaning when infrared photography revealed an underdrawing and methods of handling of oil that were unmistakably van Eyck's.

Prompt: 青い帽子の男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

青い帽子の男

Portrait of a Man with a Blue Chaperon  is a very small  oil on panel portrait of an unidentified man attributed to the Early Netherlandish painter Jan van Eyck.The painting was commissioned and completed sometime around 1430. It contains a number of elements typical of van Eyck's secular portraits, including a slightly oversized head, a dark and flat background, forensic attention to the small details and textures of the man's face, and illusionistic devices. Artists did not give titles to their works during the Northern Renaissance period, and as with any portrait of a sitter whose identity is lost, the painting has attracted generic titles over the years. It had long been thought that the ring held in the man's right hand was meant as an indication of his profession as a jeweller or goldsmith and so the painting was long titled on variants of such. More recently the ring is interpreted as an emblem of betrothal and the titles given by various art historians and publications since are usually more descriptive of the colour or form of the headdress.The painting was attributed to van Eyck in the late 19th century, but this was repeatedly challenged by some art historians until a 1991 cleaning when infrared photography revealed an underdrawing and methods of handling of oil that were unmistakably van Eyck's.

Prompt: 青い帽子の男に関して、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

青い帽子の男

The man is shown in three-quarters view with his face dramatically lit by light falling from the left. This device provides striking contrasts of light and shadow to give it its bright, intense hue. The headdress is of a similar but less extravagant type to that seen in van Eyck's c. 1433 Portrait of a Man, and worn by a figure in the distance in his c. 1435 Madonna of Chancellor Rolin. This type of headdress was to go out of fashion by the mid-1430s, conveniently and definitively dating the painting as having been completed before then.It is not known if the ring held in his right hand is intended to indicate that the sitter was a jeweller or goldsmith – as had been previously thought until Erwin Panofsky's analysis in the mid century – or that the painting was commissioned as a betrothal portrait to mark a proposal of marriage intended for an unseen bride and her family. Art historian Till-Holger Borchert praises van Eyck's recording of the man's stubble "with painstaking precision; nothing is idealised." Yet it is interesting to consider such an idealised portrait in the context of a betrothal portrait, where the intended bride's family most likely had not met the man and are dependent solely on the portrait for an indication of his means and character. Carol Richardson observes that the unidealised representation would have been a significant novelty and shock at the time, and that, complete with the evident skill of the painter, the verisimilitude would have given the sitter weight and creditability.180pxThe panel contains two illusionistic passages; the ring and his right hand appear to project out of the painting, while the minutely described fingers of his left hand seem to lie on a parapet positioned on what would have been the lower border of the original—but now lost—frame.

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

Erwin Panofsky
Madonna of Chancellor Rolin
Till-Holger Borchert


section

青い帽子の男

The man is shown in three-quarters view with his face dramatically lit by light falling from the left. This device provides striking contrasts of light and shadow to give it its bright, intense hue. The headdress is of a similar but less extravagant type to that seen in van Eyck's c. 1433 Portrait of a Man, and worn by a figure in the distance in his c. 1435 Madonna of Chancellor Rolin. This type of headdress was to go out of fashion by the mid-1430s, conveniently and definitively dating the painting as having been completed before then.It is not known if the ring held in his right hand is intended to indicate that the sitter was a jeweller or goldsmith – as had been previously thought until Erwin Panofsky's analysis in the mid century – or that the painting was commissioned as a betrothal portrait to mark a proposal of marriage intended for an unseen bride and her family. Art historian Till-Holger Borchert praises van Eyck's recording of the man's stubble "with painstaking precision; nothing is idealised." Yet it is interesting to consider such an idealised portrait in the context of a betrothal portrait, where the intended bride's family most likely had not met the man and are dependent solely on the portrait for an indication of his means and character. Carol Richardson observes that the unidealised representation would have been a significant novelty and shock at the time, and that, complete with the evident skill of the painter, the verisimilitude would have given the sitter weight and creditability.180pxThe panel contains two illusionistic passages; the ring and his right hand appear to project out of the painting, while the minutely described fingers of his left hand seem to lie on a parapet positioned on what would have been the lower border of the original—but now lost—frame.

Prompt: 青い帽子の男の説明を説明してください。英語で出力して下さい。

Erwin Panofsky
Madonna of Chancellor Rolin
Till-Holger Borchert


section

青い帽子の男

The man is shown in three-quarters view with his face dramatically lit by light falling from the left. This device provides striking contrasts of light and shadow to give it its bright, intense hue. The headdress is of a similar but less extravagant type to that seen in van Eyck's c. 1433 Portrait of a Man, and worn by a figure in the distance in his c. 1435 Madonna of Chancellor Rolin. This type of headdress was to go out of fashion by the mid-1430s, conveniently and definitively dating the painting as having been completed before then.It is not known if the ring held in his right hand is intended to indicate that the sitter was a jeweller or goldsmith – as had been previously thought until Erwin Panofsky's analysis in the mid century – or that the painting was commissioned as a betrothal portrait to mark a proposal of marriage intended for an unseen bride and her family. Art historian Till-Holger Borchert praises van Eyck's recording of the man's stubble "with painstaking precision; nothing is idealised." Yet it is interesting to consider such an idealised portrait in the context of a betrothal portrait, where the intended bride's family most likely had not met the man and are dependent solely on the portrait for an indication of his means and character. Carol Richardson observes that the unidealised representation would have been a significant novelty and shock at the time, and that, complete with the evident skill of the painter, the verisimilitude would have given the sitter weight and creditability.180pxThe panel contains two illusionistic passages; the ring and his right hand appear to project out of the painting, while the minutely described fingers of his left hand seem to lie on a parapet positioned on what would have been the lower border of the original—but now lost—frame.

Prompt: 青い帽子の男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。

Erwin Panofsky
Madonna of Chancellor Rolin
Till-Holger Borchert


section

青い帽子の男

The man is shown in three-quarters view with his face dramatically lit by light falling from the left. This device provides striking contrasts of light and shadow to give it its bright, intense hue. The headdress is of a similar but less extravagant type to that seen in van Eyck's c. 1433 Portrait of a Man, and worn by a figure in the distance in his c. 1435 Madonna of Chancellor Rolin. This type of headdress was to go out of fashion by the mid-1430s, conveniently and definitively dating the painting as having been completed before then.It is not known if the ring held in his right hand is intended to indicate that the sitter was a jeweller or goldsmith – as had been previously thought until Erwin Panofsky's analysis in the mid century – or that the painting was commissioned as a betrothal portrait to mark a proposal of marriage intended for an unseen bride and her family. Art historian Till-Holger Borchert praises van Eyck's recording of the man's stubble "with painstaking precision; nothing is idealised." Yet it is interesting to consider such an idealised portrait in the context of a betrothal portrait, where the intended bride's family most likely had not met the man and are dependent solely on the portrait for an indication of his means and character. Carol Richardson observes that the unidealised representation would have been a significant novelty and shock at the time, and that, complete with the evident skill of the painter, the verisimilitude would have given the sitter weight and creditability.180pxThe panel contains two illusionistic passages; the ring and his right hand appear to project out of the painting, while the minutely described fingers of his left hand seem to lie on a parapet positioned on what would have been the lower border of the original—but now lost—frame.

Prompt: 青い帽子の男に関して、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。

Erwin Panofsky
Madonna of Chancellor Rolin
Till-Holger Borchert


section

青い帽子の男

The painting is not signed or dated by van Eyck. Max J. Friedländer, like Georges Hulin de Loo, was convinced that it was a van Eyck; among other factors he saw a lot of similarity with the signed and dated London Léal Souvenir of c. 1432. Friedländer strongly and at length refuted claims by German art historian Karl Voll that the panel was completed in the 1490s by a follower. Although Voll later came to believe that work originated in the early 1430s, he remained convinced that it was not from the hand of van Eyck. His view was shared, some 30 years later, by Panofsky, who saw weakness in the portrait he believed irreconcilable with as skilled and accomplished a painter.Attribution to van Eyck is now broadly accepted since an infrared photography examination carried out during a 1991 restoration revealed an underdrawing and paint handling very similar to that found in confirmed, signed works by the artist.

Prompt: 青い帽子の男に焦点を当てて、その帰属を説明してください。英語で出力して下さい。

Georges Hulin de Loo
Karl Voll
Léal Souvenir


section

青い帽子の男

The painting is not signed or dated by van Eyck. Max J. Friedländer, like Georges Hulin de Loo, was convinced that it was a van Eyck; among other factors he saw a lot of similarity with the signed and dated London Léal Souvenir of c. 1432. Friedländer strongly and at length refuted claims by German art historian Karl Voll that the panel was completed in the 1490s by a follower. Although Voll later came to believe that work originated in the early 1430s, he remained convinced that it was not from the hand of van Eyck. His view was shared, some 30 years later, by Panofsky, who saw weakness in the portrait he believed irreconcilable with as skilled and accomplished a painter.Attribution to van Eyck is now broadly accepted since an infrared photography examination carried out during a 1991 restoration revealed an underdrawing and paint handling very similar to that found in confirmed, signed works by the artist.

Prompt: 青い帽子の男の帰属を説明してください。英語で出力して下さい。

Georges Hulin de Loo
Karl Voll
Léal Souvenir


section

青い帽子の男

The painting is not signed or dated by van Eyck. Max J. Friedländer, like Georges Hulin de Loo, was convinced that it was a van Eyck; among other factors he saw a lot of similarity with the signed and dated London Léal Souvenir of c. 1432. Friedländer strongly and at length refuted claims by German art historian Karl Voll that the panel was completed in the 1490s by a follower. Although Voll later came to believe that work originated in the early 1430s, he remained convinced that it was not from the hand of van Eyck. His view was shared, some 30 years later, by Panofsky, who saw weakness in the portrait he believed irreconcilable with as skilled and accomplished a painter.Attribution to van Eyck is now broadly accepted since an infrared photography examination carried out during a 1991 restoration revealed an underdrawing and paint handling very similar to that found in confirmed, signed works by the artist.

Prompt: 青い帽子の男はどのように帰属を説明していますか？英語で出力して下さい。

Georges Hulin de Loo
Karl Voll
Léal Souvenir


section

青い帽子の男

The painting is not signed or dated by van Eyck. Max J. Friedländer, like Georges Hulin de Loo, was convinced that it was a van Eyck; among other factors he saw a lot of similarity with the signed and dated London Léal Souvenir of c. 1432. Friedländer strongly and at length refuted claims by German art historian Karl Voll that the panel was completed in the 1490s by a follower. Although Voll later came to believe that work originated in the early 1430s, he remained convinced that it was not from the hand of van Eyck. His view was shared, some 30 years later, by Panofsky, who saw weakness in the portrait he believed irreconcilable with as skilled and accomplished a painter.Attribution to van Eyck is now broadly accepted since an infrared photography examination carried out during a 1991 restoration revealed an underdrawing and paint handling very similar to that found in confirmed, signed works by the artist.

Prompt: 青い帽子の男に関して、どのように帰属が議論されていますか？英語で出力して下さい。

Georges Hulin de Loo
Karl Voll
Léal Souvenir


section

青い帽子の男

Borchert, Till-Holger. Van Eyck. London: Taschen, 2008.  Campbell, Lorne. The Fifteenth-Century Netherlandish Paintings. London, National Gallery. New Haven: Yale University Press, 1998.  Richardson, Carol. Locating Renaissance Art: Renaissance Art Reconsidered. Yale University Press, 2007.  Ridderbos, Bernhard; van Buren, Anne; van Veen, Henk. Early Netherlandish paintings: Rediscovery, Reception and Research. Amsterdam: Amsterdam University Press, 2004.

Prompt: 青い帽子の男に焦点を当てて、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

青い帽子の男

Borchert, Till-Holger. Van Eyck. London: Taschen, 2008.  Campbell, Lorne. The Fifteenth-Century Netherlandish Paintings. London, National Gallery. New Haven: Yale University Press, 1998.  Richardson, Carol. Locating Renaissance Art: Renaissance Art Reconsidered. Yale University Press, 2007.  Ridderbos, Bernhard; van Buren, Anne; van Veen, Henk. Early Netherlandish paintings: Rediscovery, Reception and Research. Amsterdam: Amsterdam University Press, 2004.

Prompt: 青い帽子の男の情報源を説明してください。英語で出力して下さい。


section

青い帽子の男

Borchert, Till-Holger. Van Eyck. London: Taschen, 2008.  Campbell, Lorne. The Fifteenth-Century Netherlandish Paintings. London, National Gallery. New Haven: Yale University Press, 1998.  Richardson, Carol. Locating Renaissance Art: Renaissance Art Reconsidered. Yale University Press, 2007.  Ridderbos, Bernhard; van Buren, Anne; van Veen, Henk. Early Netherlandish paintings: Rediscovery, Reception and Research. Amsterdam: Amsterdam University Press, 2004.

Prompt: 青い帽子の男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

青い帽子の男

Borchert, Till-Holger. Van Eyck. London: Taschen, 2008.  Campbell, Lorne. The Fifteenth-Century Netherlandish Paintings. London, National Gallery. New Haven: Yale University Press, 1998.  Richardson, Carol. Locating Renaissance Art: Renaissance Art Reconsidered. Yale University Press, 2007.  Ridderbos, Bernhard; van Buren, Anne; van Veen, Henk. Early Netherlandish paintings: Rediscovery, Reception and Research. Amsterdam: Amsterdam University Press, 2004.

Prompt: 青い帽子の男に関して、どのように情報源が議論されていますか？英語で出力して下さい。


subsection

青い帽子の男

The painting came into the collection of Samuel von Brukenthal , Habsburg governor of Transylvania from 1774 to 1787.  Along with the rest of his collection at his Baroque house, Brukenthal Palace in Hermannstadt , it became part of a public collection that opened in 1817.  Until 1948, the panel belonged to the Brukenthal National Museum in Sibiu, Romania. That year, the new Communist regime seized the panel, along with eighteen others it considered the museum's most valuable holdings, and gave it to the National Museum of Art of Romania in Bucharest. At the end of 2006, in time for Sibiu's stint as European Capital of Culture, the works were returned to the Brukenthal Museum.

Prompt: 青い帽子の男の文脈で、起源と帰属を説明してください。英語で出力して下さい。

Brukenthal National Museum
Bucharest
European Capital of Culture
National Museum of Art of Romania
Romania
Samuel von Brukenthal
Sibiu
Transylvania


subsection

青い帽子の男

The painting came into the collection of Samuel von Brukenthal , Habsburg governor of Transylvania from 1774 to 1787.  Along with the rest of his collection at his Baroque house, Brukenthal Palace in Hermannstadt , it became part of a public collection that opened in 1817.  Until 1948, the panel belonged to the Brukenthal National Museum in Sibiu, Romania. That year, the new Communist regime seized the panel, along with eighteen others it considered the museum's most valuable holdings, and gave it to the National Museum of Art of Romania in Bucharest. At the end of 2006, in time for Sibiu's stint as European Capital of Culture, the works were returned to the Brukenthal Museum.

Prompt: 青い帽子の男の帰属に関する起源を説明してください。英語で出力して下さい。

Brukenthal National Museum
Bucharest
European Capital of Culture
National Museum of Art of Romania
Romania
Samuel von Brukenthal
Sibiu
Transylvania


subsection

青い帽子の男

The painting came into the collection of Samuel von Brukenthal , Habsburg governor of Transylvania from 1774 to 1787.  Along with the rest of his collection at his Baroque house, Brukenthal Palace in Hermannstadt , it became part of a public collection that opened in 1817.  Until 1948, the panel belonged to the Brukenthal National Museum in Sibiu, Romania. That year, the new Communist regime seized the panel, along with eighteen others it considered the museum's most valuable holdings, and gave it to the National Museum of Art of Romania in Bucharest. At the end of 2006, in time for Sibiu's stint as European Capital of Culture, the works were returned to the Brukenthal Museum.

Prompt: 青い帽子の男では、どのように帰属の起源が説明されていますか？英語で出力して下さい。

Brukenthal National Museum
Bucharest
European Capital of Culture
National Museum of Art of Romania
Romania
Samuel von Brukenthal
Sibiu
Transylvania


subsection

青い帽子の男

The painting came into the collection of Samuel von Brukenthal , Habsburg governor of Transylvania from 1774 to 1787.  Along with the rest of his collection at his Baroque house, Brukenthal Palace in Hermannstadt , it became part of a public collection that opened in 1817.  Until 1948, the panel belonged to the Brukenthal National Museum in Sibiu, Romania. That year, the new Communist regime seized the panel, along with eighteen others it considered the museum's most valuable holdings, and gave it to the National Museum of Art of Romania in Bucharest. At the end of 2006, in time for Sibiu's stint as European Capital of Culture, the works were returned to the Brukenthal Museum.

Prompt: 青い帽子の男の帰属における起源の特徴を説明してください。英語で出力して下さい。

Brukenthal National Museum
Bucharest
European Capital of Culture
National Museum of Art of Romania
Romania
Samuel von Brukenthal
Sibiu
Transylvania


section

アリストテレス (リベーラの絵画)

Aristotle is a 1637 oil painting by Spanish artist Jusepe de Ribera, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. It is part of a series of six portraits of ancient philosophers commissioned by the Prince of Liechtenstein in 1636.

Prompt: アリストテレス (リベーラの絵画)に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Aristotle
Indiana
Indianapolis
Indianapolis Museum of Art
Jusepe de Ribera


section

アリストテレス (リベーラの絵画)

Aristotle is a 1637 oil painting by Spanish artist Jusepe de Ribera, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. It is part of a series of six portraits of ancient philosophers commissioned by the Prince of Liechtenstein in 1636.

Prompt: アリストテレス (リベーラの絵画)の抽象を説明してください。英語で出力して下さい。

Aristotle
Indiana
Indianapolis
Indianapolis Museum of Art
Jusepe de Ribera


section

アリストテレス (リベーラの絵画)

Aristotle is a 1637 oil painting by Spanish artist Jusepe de Ribera, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. It is part of a series of six portraits of ancient philosophers commissioned by the Prince of Liechtenstein in 1636.

Prompt: アリストテレス (リベーラの絵画)はどのように抽象を説明していますか？英語で出力して下さい。

Aristotle
Indiana
Indianapolis
Indianapolis Museum of Art
Jusepe de Ribera


section

アリストテレス (リベーラの絵画)

Aristotle is a 1637 oil painting by Spanish artist Jusepe de Ribera, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. It is part of a series of six portraits of ancient philosophers commissioned by the Prince of Liechtenstein in 1636.

Prompt: アリストテレス (リベーラの絵画)に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Aristotle
Indiana
Indianapolis
Indianapolis Museum of Art
Jusepe de Ribera


section

アリストテレス (リベーラの絵画)

Aristotle is here portrayed as a beggar-philosopher, a popular conceit in the seventeenth century. His asceticism is well in keeping with Spanish Catholicism, and is a hallmark of the saints Ribera also painted. He is surrounded by light reminiscent of Caravaggio, with whom Ribera is often associated. That, and his direct, naturalistic style  make this a powerful image of a philosopher and his profound contemplations. Aristotle is painted in a very tactile manner, with deep creases in his worn face and hands. Ribera proudly signed the painting across the papers in Aristotle's hand, appending "español" to his name to assert his nationality.

Prompt: アリストテレス (リベーラの絵画)に焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

アリストテレス (リベーラの絵画)

Aristotle is here portrayed as a beggar-philosopher, a popular conceit in the seventeenth century. His asceticism is well in keeping with Spanish Catholicism, and is a hallmark of the saints Ribera also painted. He is surrounded by light reminiscent of Caravaggio, with whom Ribera is often associated. That, and his direct, naturalistic style  make this a powerful image of a philosopher and his profound contemplations. Aristotle is painted in a very tactile manner, with deep creases in his worn face and hands. Ribera proudly signed the painting across the papers in Aristotle's hand, appending "español" to his name to assert his nationality.

Prompt: アリストテレス (リベーラの絵画)の説明を説明してください。英語で出力して下さい。


section

アリストテレス (リベーラの絵画)

Aristotle is here portrayed as a beggar-philosopher, a popular conceit in the seventeenth century. His asceticism is well in keeping with Spanish Catholicism, and is a hallmark of the saints Ribera also painted. He is surrounded by light reminiscent of Caravaggio, with whom Ribera is often associated. That, and his direct, naturalistic style  make this a powerful image of a philosopher and his profound contemplations. Aristotle is painted in a very tactile manner, with deep creases in his worn face and hands. Ribera proudly signed the painting across the papers in Aristotle's hand, appending "español" to his name to assert his nationality.

Prompt: アリストテレス (リベーラの絵画)はどのように説明を説明していますか？英語で出力して下さい。


section

アリストテレス (リベーラの絵画)

Aristotle is here portrayed as a beggar-philosopher, a popular conceit in the seventeenth century. His asceticism is well in keeping with Spanish Catholicism, and is a hallmark of the saints Ribera also painted. He is surrounded by light reminiscent of Caravaggio, with whom Ribera is often associated. That, and his direct, naturalistic style  make this a powerful image of a philosopher and his profound contemplations. Aristotle is painted in a very tactile manner, with deep creases in his worn face and hands. Ribera proudly signed the painting across the papers in Aristotle's hand, appending "español" to his name to assert his nationality.

Prompt: アリストテレス (リベーラの絵画)に関して、どのように説明が議論されていますか？英語で出力して下さい。


section

アリストテレス (リベーラの絵画)

When Karl Eusebius, Prince of Liechtenstein originally commissioned this series in May 1636, the request was for a full dozen paintings. However, only the first six were ever delivered. These were listed in a 1767 inventory as Aristotle, Plato, Crates, Anaxagoras, Protagoras, and Diogenes. The set was sold and scattered in 1957, although briefly reunited by the Metropolitan Museum of Art in 1992 for a Ribera exhibition.

Prompt: アリストテレス (リベーラの絵画)に焦点を当てて、その歴史情報を説明してください。英語で出力して下さい。

Anaxagoras
Aristotle
Karl Eusebius, Prince of Liechtenstein
Metropolitan Museum of Art
Plato
Protagoras


section

アリストテレス (リベーラの絵画)

When Karl Eusebius, Prince of Liechtenstein originally commissioned this series in May 1636, the request was for a full dozen paintings. However, only the first six were ever delivered. These were listed in a 1767 inventory as Aristotle, Plato, Crates, Anaxagoras, Protagoras, and Diogenes. The set was sold and scattered in 1957, although briefly reunited by the Metropolitan Museum of Art in 1992 for a Ribera exhibition.

Prompt: アリストテレス (リベーラの絵画)の歴史情報を説明してください。英語で出力して下さい。

Anaxagoras
Aristotle
Karl Eusebius, Prince of Liechtenstein
Metropolitan Museum of Art
Plato
Protagoras


section

アリストテレス (リベーラの絵画)

When Karl Eusebius, Prince of Liechtenstein originally commissioned this series in May 1636, the request was for a full dozen paintings. However, only the first six were ever delivered. These were listed in a 1767 inventory as Aristotle, Plato, Crates, Anaxagoras, Protagoras, and Diogenes. The set was sold and scattered in 1957, although briefly reunited by the Metropolitan Museum of Art in 1992 for a Ribera exhibition.

Prompt: アリストテレス (リベーラの絵画)はどのように歴史情報を説明していますか？英語で出力して下さい。

Anaxagoras
Aristotle
Karl Eusebius, Prince of Liechtenstein
Metropolitan Museum of Art
Plato
Protagoras


section

アリストテレス (リベーラの絵画)

When Karl Eusebius, Prince of Liechtenstein originally commissioned this series in May 1636, the request was for a full dozen paintings. However, only the first six were ever delivered. These were listed in a 1767 inventory as Aristotle, Plato, Crates, Anaxagoras, Protagoras, and Diogenes. The set was sold and scattered in 1957, although briefly reunited by the Metropolitan Museum of Art in 1992 for a Ribera exhibition.

Prompt: アリストテレス (リベーラの絵画)に関して、どのように歴史情報が議論されていますか？英語で出力して下さい。

Anaxagoras
Aristotle
Karl Eusebius, Prince of Liechtenstein
Metropolitan Museum of Art
Plato
Protagoras


subsection

アリストテレス (リベーラの絵画)

From 1637 until 1957, the Princes of Lichtenstein retained possession of the painting. Then it was purchased by Dr. G.H.A. Clowes, who generously lent it to the IMA. The IMA officially acquired Aristotle in 2000, courtesy of the Clowes family, and gave it the accession number 2000.345. It hangs in the Clowes Pavilion with many other donations from that family.

Prompt: アリストテレス (リベーラの絵画)の文脈で、位置履歴と歴史情報を説明してください。英語で出力して下さい。


subsection

アリストテレス (リベーラの絵画)

From 1637 until 1957, the Princes of Lichtenstein retained possession of the painting. Then it was purchased by Dr. G.H.A. Clowes, who generously lent it to the IMA. The IMA officially acquired Aristotle in 2000, courtesy of the Clowes family, and gave it the accession number 2000.345. It hangs in the Clowes Pavilion with many other donations from that family.

Prompt: アリストテレス (リベーラの絵画)の歴史情報に関する位置履歴を説明してください。英語で出力して下さい。


subsection

アリストテレス (リベーラの絵画)

From 1637 until 1957, the Princes of Lichtenstein retained possession of the painting. Then it was purchased by Dr. G.H.A. Clowes, who generously lent it to the IMA. The IMA officially acquired Aristotle in 2000, courtesy of the Clowes family, and gave it the accession number 2000.345. It hangs in the Clowes Pavilion with many other donations from that family.

Prompt: アリストテレス (リベーラの絵画)では、どのように歴史情報の位置履歴が説明されていますか？英語で出力して下さい。


subsection

アリストテレス (リベーラの絵画)

From 1637 until 1957, the Princes of Lichtenstein retained possession of the painting. Then it was purchased by Dr. G.H.A. Clowes, who generously lent it to the IMA. The IMA officially acquired Aristotle in 2000, courtesy of the Clowes family, and gave it the accession number 2000.345. It hangs in the Clowes Pavilion with many other donations from that family.

Prompt: アリストテレス (リベーラの絵画)の歴史情報における位置履歴の特徴を説明してください。英語で出力して下さい。


section

ピアノに寄る少女たち

Young Girls at the Piano  is an oil-on-canvas painting by French artist Pierre-Auguste Renoir, a leading painter in the development of the Impressionist style. The painting represents his late work period . It was completed in 1892 as an informal commission for the Musée du Luxembourg. Renoir painted three other variations of this composition in oil and two sketches, one in oil and one in pastel. Known by the artist as repetitions, they were executed to fulfill commissions from dealers and collectors. The work is on public display at the Musée d'Orsay in Paris, Metropolitan Museum of Art in New York, and the Musée de l'Orangerie in Paris.

Prompt: ピアノに寄る少女たちに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Metropolitan Museum of Art
Musée d'Orsay
Musée de l'Orangerie
Musée du Luxembourg
Pierre-Auguste Renoir
Metropolitan Museum of Art


section

ピアノに寄る少女たち

Young Girls at the Piano  is an oil-on-canvas painting by French artist Pierre-Auguste Renoir, a leading painter in the development of the Impressionist style. The painting represents his late work period . It was completed in 1892 as an informal commission for the Musée du Luxembourg. Renoir painted three other variations of this composition in oil and two sketches, one in oil and one in pastel. Known by the artist as repetitions, they were executed to fulfill commissions from dealers and collectors. The work is on public display at the Musée d'Orsay in Paris, Metropolitan Museum of Art in New York, and the Musée de l'Orangerie in Paris.

Prompt: ピアノに寄る少女たちの抽象を説明してください。英語で出力して下さい。

Metropolitan Museum of Art
Musée d'Orsay
Musée de l'Orangerie
Musée du Luxembourg
Pierre-Auguste Renoir
Metropolitan Museum of Art


section

ピアノに寄る少女たち

Young Girls at the Piano  is an oil-on-canvas painting by French artist Pierre-Auguste Renoir, a leading painter in the development of the Impressionist style. The painting represents his late work period . It was completed in 1892 as an informal commission for the Musée du Luxembourg. Renoir painted three other variations of this composition in oil and two sketches, one in oil and one in pastel. Known by the artist as repetitions, they were executed to fulfill commissions from dealers and collectors. The work is on public display at the Musée d'Orsay in Paris, Metropolitan Museum of Art in New York, and the Musée de l'Orangerie in Paris.

Prompt: ピアノに寄る少女たち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。

Metropolitan Museum of Art
Musée d'Orsay
Musée de l'Orangerie
Musée du Luxembourg
Pierre-Auguste Renoir
Metropolitan Museum of Art


section

ピアノに寄る少女たち

Young Girls at the Piano  is an oil-on-canvas painting by French artist Pierre-Auguste Renoir, a leading painter in the development of the Impressionist style. The painting represents his late work period . It was completed in 1892 as an informal commission for the Musée du Luxembourg. Renoir painted three other variations of this composition in oil and two sketches, one in oil and one in pastel. Known by the artist as repetitions, they were executed to fulfill commissions from dealers and collectors. The work is on public display at the Musée d'Orsay in Paris, Metropolitan Museum of Art in New York, and the Musée de l'Orangerie in Paris.

Prompt: ピアノに寄る少女たちに関して、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。

Metropolitan Museum of Art
Musée d'Orsay
Musée de l'Orangerie
Musée du Luxembourg
Pierre-Auguste Renoir
Metropolitan Museum of Art


section

ピアノに寄る少女たち

Renoir depicts two young girls at a piano in a bourgeois home, one in a white dress with blue sash seated playing and one in a pink dress standing. Renoir completed three additional versions of this composition in oil for collectors; the Luxembourg version is now housed at the Musée d'Orsay in Paris, the Robert Lehman Collection version is at the Metropolitan Museum of Art in New York, while the Caillebotte version and one other are in private collections. An oil sketch of the composition is on display at the Musée de l'Orangerie in Paris and a pastel sketch is in a private collection. The painting in the Musée d'Orsay is 116 cm high and 90 cm wide. The version at the Met is 111.8 x 86.4 cm. The oil sketch at the Musée de l'Orangerie is 116.0 x 81.0 cm.Pissarro and Monet routinely painted series of variations on a single theme, but their works were intended to be shown together to chronicle the effects of light and atmosphere, while Renoir's repetitions were independent essays in composition. In particular, details and poses changed subtly, and the sketches eliminate most of the background elements.Renoir explored a similar composition with his earlier 1888 work The Daughters of Catulle Mendès, now in the Annenberg Collection at the Metropolitan Museum of Art.

Prompt: ピアノに寄る少女たちに焦点を当てて、その説明を説明してください。英語で出力して下さい。

Metropolitan Museum of Art
Musée d'Orsay
Musée de l'Orangerie
Metropolitan Museum of Art
The Daughters of Catulle Mendès


section

ピアノに寄る少女たち

Renoir depicts two young girls at a piano in a bourgeois home, one in a white dress with blue sash seated playing and one in a pink dress standing. Renoir completed three additional versions of this composition in oil for collectors; the Luxembourg version is now housed at the Musée d'Orsay in Paris, the Robert Lehman Collection version is at the Metropolitan Museum of Art in New York, while the Caillebotte version and one other are in private collections. An oil sketch of the composition is on display at the Musée de l'Orangerie in Paris and a pastel sketch is in a private collection. The painting in the Musée d'Orsay is 116 cm high and 90 cm wide. The version at the Met is 111.8 x 86.4 cm. The oil sketch at the Musée de l'Orangerie is 116.0 x 81.0 cm.Pissarro and Monet routinely painted series of variations on a single theme, but their works were intended to be shown together to chronicle the effects of light and atmosphere, while Renoir's repetitions were independent essays in composition. In particular, details and poses changed subtly, and the sketches eliminate most of the background elements.Renoir explored a similar composition with his earlier 1888 work The Daughters of Catulle Mendès, now in the Annenberg Collection at the Metropolitan Museum of Art.

Prompt: ピアノに寄る少女たちの説明を説明してください。英語で出力して下さい。

Metropolitan Museum of Art
Musée d'Orsay
Musée de l'Orangerie
Metropolitan Museum of Art
The Daughters of Catulle Mendès


section

ピアノに寄る少女たち

Renoir depicts two young girls at a piano in a bourgeois home, one in a white dress with blue sash seated playing and one in a pink dress standing. Renoir completed three additional versions of this composition in oil for collectors; the Luxembourg version is now housed at the Musée d'Orsay in Paris, the Robert Lehman Collection version is at the Metropolitan Museum of Art in New York, while the Caillebotte version and one other are in private collections. An oil sketch of the composition is on display at the Musée de l'Orangerie in Paris and a pastel sketch is in a private collection. The painting in the Musée d'Orsay is 116 cm high and 90 cm wide. The version at the Met is 111.8 x 86.4 cm. The oil sketch at the Musée de l'Orangerie is 116.0 x 81.0 cm.Pissarro and Monet routinely painted series of variations on a single theme, but their works were intended to be shown together to chronicle the effects of light and atmosphere, while Renoir's repetitions were independent essays in composition. In particular, details and poses changed subtly, and the sketches eliminate most of the background elements.Renoir explored a similar composition with his earlier 1888 work The Daughters of Catulle Mendès, now in the Annenberg Collection at the Metropolitan Museum of Art.

Prompt: ピアノに寄る少女たち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。

Metropolitan Museum of Art
Musée d'Orsay
Musée de l'Orangerie
Metropolitan Museum of Art
The Daughters of Catulle Mendès


section

ピアノに寄る少女たち

Renoir depicts two young girls at a piano in a bourgeois home, one in a white dress with blue sash seated playing and one in a pink dress standing. Renoir completed three additional versions of this composition in oil for collectors; the Luxembourg version is now housed at the Musée d'Orsay in Paris, the Robert Lehman Collection version is at the Metropolitan Museum of Art in New York, while the Caillebotte version and one other are in private collections. An oil sketch of the composition is on display at the Musée de l'Orangerie in Paris and a pastel sketch is in a private collection. The painting in the Musée d'Orsay is 116 cm high and 90 cm wide. The version at the Met is 111.8 x 86.4 cm. The oil sketch at the Musée de l'Orangerie is 116.0 x 81.0 cm.Pissarro and Monet routinely painted series of variations on a single theme, but their works were intended to be shown together to chronicle the effects of light and atmosphere, while Renoir's repetitions were independent essays in composition. In particular, details and poses changed subtly, and the sketches eliminate most of the background elements.Renoir explored a similar composition with his earlier 1888 work The Daughters of Catulle Mendès, now in the Annenberg Collection at the Metropolitan Museum of Art.

Prompt: ピアノに寄る少女たちに関して、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。

Metropolitan Museum of Art
Musée d'Orsay
Musée de l'Orangerie
Metropolitan Museum of Art
The Daughters of Catulle Mendès


section

ピアノに寄る少女たち

List of paintings by Pierre-Auguste Renoir

Prompt: ピアノに寄る少女たちに焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

ピアノに寄る少女たち

List of paintings by Pierre-Auguste Renoir

Prompt: ピアノに寄る少女たちの参照を説明してください。英語で出力して下さい。


section

ピアノに寄る少女たち

List of paintings by Pierre-Auguste Renoir

Prompt: ピアノに寄る少女たち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

ピアノに寄る少女たち

List of paintings by Pierre-Auguste Renoir

Prompt: ピアノに寄る少女たちに関して、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

サン・ピエトロ多翼祭壇画

The San Pietro Polyptych  is a polyptych by Italian Renaissance master Perugino, painted around 1496–1500. The panels are now in different locations: the lunette and the central panel, depicting the Ascension of Christ, are in the Museum of Fine Arts of Lyon, France.

Prompt: サン・ピエトロ多翼祭壇画に焦点を当てて、その抽象を説明してください。英語で出力して下さい。


section

サン・ピエトロ多翼祭壇画

The San Pietro Polyptych  is a polyptych by Italian Renaissance master Perugino, painted around 1496–1500. The panels are now in different locations: the lunette and the central panel, depicting the Ascension of Christ, are in the Museum of Fine Arts of Lyon, France.

Prompt: サン・ピエトロ多翼祭壇画の抽象を説明してください。英語で出力して下さい。


section

サン・ピエトロ多翼祭壇画

The San Pietro Polyptych  is a polyptych by Italian Renaissance master Perugino, painted around 1496–1500. The panels are now in different locations: the lunette and the central panel, depicting the Ascension of Christ, are in the Museum of Fine Arts of Lyon, France.

Prompt: サン・ピエトロ多翼祭壇画はどのように抽象を説明していますか？英語で出力して下さい。


section

サン・ピエトロ多翼祭壇画

The San Pietro Polyptych  is a polyptych by Italian Renaissance master Perugino, painted around 1496–1500. The panels are now in different locations: the lunette and the central panel, depicting the Ascension of Christ, are in the Museum of Fine Arts of Lyon, France.

Prompt: サン・ピエトロ多翼祭壇画に関して、どのように抽象が議論されていますか？英語で出力して下さい。


section

サン・ピエトロ多翼祭壇画

The cymatium was separated by the main panel by a frame, in the same way of the Vallombrosa Altarpiece. At the sides were two columns which supported the frame arch and which, at the bases, were decorated by three small panels with Saints, sharing the same background.The polyptych included the following panels:Ascension , now at the Museum of Fine Arts of Lyon. This work was almost entirely copied by Perugino and his workshop for the later Sansepolcro Altarpiece. The Vallombrosa Altarpiece also used a similar composition, in turn inspired by the now lost Assumption in the Sistine Chapel.God in Glory lunette , now at the Museum of Fine Arts of Lyon. It represents God in a cloud in the sky, surrounded by cherubim and seraphim, and two symmetrical angels at the side.Tondoes of Jeremy and Isaiah , now at the Musée des beaux-arts of NantesAdoration of the Magi . Now at the Musée des Beaux-Arts of Rouen.Baptism of Christ . Now at the Musée des Beaux-Arts of Rouen.Resurrection . Now at the Musée des Beaux-Arts of Rouen.St. Herculanus and St. Constantius . Now at the Galleria Nazionale dell'Umbria at  Perugia.St. Maurus, St. Peter ad Vincula, St. Scholastica, St. Benedict, St. Flavia and St. Placidus . Now at the Galleria Nazionale dell'Umbria at  Perugia and the Pinacoteca Vaticana in Rome.

Prompt: サン・ピエトロ多翼祭壇画に焦点を当てて、その説明を説明してください。英語で出力して下さい。

Galleria Nazionale dell'Umbria
Museum of Fine Arts of Lyon
Nantes
Perugia
Rome
Rouen
Sansepolcro Altarpiece
Sistine Chapel
Vallombrosa Altarpiece


section

サン・ピエトロ多翼祭壇画

The cymatium was separated by the main panel by a frame, in the same way of the Vallombrosa Altarpiece. At the sides were two columns which supported the frame arch and which, at the bases, were decorated by three small panels with Saints, sharing the same background.The polyptych included the following panels:Ascension , now at the Museum of Fine Arts of Lyon. This work was almost entirely copied by Perugino and his workshop for the later Sansepolcro Altarpiece. The Vallombrosa Altarpiece also used a similar composition, in turn inspired by the now lost Assumption in the Sistine Chapel.God in Glory lunette , now at the Museum of Fine Arts of Lyon. It represents God in a cloud in the sky, surrounded by cherubim and seraphim, and two symmetrical angels at the side.Tondoes of Jeremy and Isaiah , now at the Musée des beaux-arts of NantesAdoration of the Magi . Now at the Musée des Beaux-Arts of Rouen.Baptism of Christ . Now at the Musée des Beaux-Arts of Rouen.Resurrection . Now at the Musée des Beaux-Arts of Rouen.St. Herculanus and St. Constantius . Now at the Galleria Nazionale dell'Umbria at  Perugia.St. Maurus, St. Peter ad Vincula, St. Scholastica, St. Benedict, St. Flavia and St. Placidus . Now at the Galleria Nazionale dell'Umbria at  Perugia and the Pinacoteca Vaticana in Rome.

Prompt: サン・ピエトロ多翼祭壇画の説明を説明してください。英語で出力して下さい。

Galleria Nazionale dell'Umbria
Museum of Fine Arts of Lyon
Nantes
Perugia
Rome
Rouen
Sansepolcro Altarpiece
Sistine Chapel
Vallombrosa Altarpiece


section

サン・ピエトロ多翼祭壇画

The cymatium was separated by the main panel by a frame, in the same way of the Vallombrosa Altarpiece. At the sides were two columns which supported the frame arch and which, at the bases, were decorated by three small panels with Saints, sharing the same background.The polyptych included the following panels:Ascension , now at the Museum of Fine Arts of Lyon. This work was almost entirely copied by Perugino and his workshop for the later Sansepolcro Altarpiece. The Vallombrosa Altarpiece also used a similar composition, in turn inspired by the now lost Assumption in the Sistine Chapel.God in Glory lunette , now at the Museum of Fine Arts of Lyon. It represents God in a cloud in the sky, surrounded by cherubim and seraphim, and two symmetrical angels at the side.Tondoes of Jeremy and Isaiah , now at the Musée des beaux-arts of NantesAdoration of the Magi . Now at the Musée des Beaux-Arts of Rouen.Baptism of Christ . Now at the Musée des Beaux-Arts of Rouen.Resurrection . Now at the Musée des Beaux-Arts of Rouen.St. Herculanus and St. Constantius . Now at the Galleria Nazionale dell'Umbria at  Perugia.St. Maurus, St. Peter ad Vincula, St. Scholastica, St. Benedict, St. Flavia and St. Placidus . Now at the Galleria Nazionale dell'Umbria at  Perugia and the Pinacoteca Vaticana in Rome.

Prompt: サン・ピエトロ多翼祭壇画はどのように説明を説明していますか？英語で出力して下さい。

Galleria Nazionale dell'Umbria
Museum of Fine Arts of Lyon
Nantes
Perugia
Rome
Rouen
Sansepolcro Altarpiece
Sistine Chapel
Vallombrosa Altarpiece


section

サン・ピエトロ多翼祭壇画

The cymatium was separated by the main panel by a frame, in the same way of the Vallombrosa Altarpiece. At the sides were two columns which supported the frame arch and which, at the bases, were decorated by three small panels with Saints, sharing the same background.The polyptych included the following panels:Ascension , now at the Museum of Fine Arts of Lyon. This work was almost entirely copied by Perugino and his workshop for the later Sansepolcro Altarpiece. The Vallombrosa Altarpiece also used a similar composition, in turn inspired by the now lost Assumption in the Sistine Chapel.God in Glory lunette , now at the Museum of Fine Arts of Lyon. It represents God in a cloud in the sky, surrounded by cherubim and seraphim, and two symmetrical angels at the side.Tondoes of Jeremy and Isaiah , now at the Musée des beaux-arts of NantesAdoration of the Magi . Now at the Musée des Beaux-Arts of Rouen.Baptism of Christ . Now at the Musée des Beaux-Arts of Rouen.Resurrection . Now at the Musée des Beaux-Arts of Rouen.St. Herculanus and St. Constantius . Now at the Galleria Nazionale dell'Umbria at  Perugia.St. Maurus, St. Peter ad Vincula, St. Scholastica, St. Benedict, St. Flavia and St. Placidus . Now at the Galleria Nazionale dell'Umbria at  Perugia and the Pinacoteca Vaticana in Rome.

Prompt: サン・ピエトロ多翼祭壇画に関して、どのように説明が議論されていますか？英語で出力して下さい。

Galleria Nazionale dell'Umbria
Museum of Fine Arts of Lyon
Nantes
Perugia
Rome
Rouen
Sansepolcro Altarpiece
Sistine Chapel
Vallombrosa Altarpiece


section

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

The Triptych of Temptation of St. Anthony is an oil painting on wood panels by the Early Netherlandish painter Hieronymus Bosch, dating from around 1501. The work portrays the mental and spiritual torments endured by Saint Anthony the Great , one of the most prominent of the Desert Fathers of Egypt in the late 3rd and early 4th centuries. The Temptation of St. Anthony was a popular subject in Medieval and Renaissance art. In common with many of Bosch's works, the triptych contains much fantastic imagery. The painting hangs in the Museu Nacional de Arte Antiga in Lisbon.

Prompt: 聖アントニウスの誘惑の三連祭壇画に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Anthony the Great
Desert Fathers
Egypt
Hieronymus Bosch
Lisbon
Triptych


section

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

The Triptych of Temptation of St. Anthony is an oil painting on wood panels by the Early Netherlandish painter Hieronymus Bosch, dating from around 1501. The work portrays the mental and spiritual torments endured by Saint Anthony the Great , one of the most prominent of the Desert Fathers of Egypt in the late 3rd and early 4th centuries. The Temptation of St. Anthony was a popular subject in Medieval and Renaissance art. In common with many of Bosch's works, the triptych contains much fantastic imagery. The painting hangs in the Museu Nacional de Arte Antiga in Lisbon.

Prompt: 聖アントニウスの誘惑の三連祭壇画の抽象を説明してください。英語で出力して下さい。

Anthony the Great
Desert Fathers
Egypt
Hieronymus Bosch
Lisbon
Triptych


section

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

The Triptych of Temptation of St. Anthony is an oil painting on wood panels by the Early Netherlandish painter Hieronymus Bosch, dating from around 1501. The work portrays the mental and spiritual torments endured by Saint Anthony the Great , one of the most prominent of the Desert Fathers of Egypt in the late 3rd and early 4th centuries. The Temptation of St. Anthony was a popular subject in Medieval and Renaissance art. In common with many of Bosch's works, the triptych contains much fantastic imagery. The painting hangs in the Museu Nacional de Arte Antiga in Lisbon.

Prompt: 聖アントニウスの誘惑の三連祭壇画はどのように抽象を説明していますか？英語で出力して下さい。

Anthony the Great
Desert Fathers
Egypt
Hieronymus Bosch
Lisbon
Triptych


section

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

The Triptych of Temptation of St. Anthony is an oil painting on wood panels by the Early Netherlandish painter Hieronymus Bosch, dating from around 1501. The work portrays the mental and spiritual torments endured by Saint Anthony the Great , one of the most prominent of the Desert Fathers of Egypt in the late 3rd and early 4th centuries. The Temptation of St. Anthony was a popular subject in Medieval and Renaissance art. In common with many of Bosch's works, the triptych contains much fantastic imagery. The painting hangs in the Museu Nacional de Arte Antiga in Lisbon.

Prompt: 聖アントニウスの誘惑の三連祭壇画に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Anthony the Great
Desert Fathers
Egypt
Hieronymus Bosch
Lisbon
Triptych


section

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

According to some historians, the work could be one of the three Temptations recorded in the inventory of Philip II of Spain sent to the Escorial in 1574. From the 1950s, it had traditionally been considered more likely that the triptych was that bought by the Portuguese humanist Damião de Góis between 1523 and 1545.  In fact, the painting was documented as part of the collections in the Royal Palace of Lisbon in 1872 March from Spain, and in 1911 King Manuel II donated it to its current museum. Circle of Jheronimus Bosch, Temptation of Saint Anthony central panel copy, , a work by a follower after Bosch  can be found in the National Gallery of Canada in Ottawa.

Prompt: 聖アントニウスの誘惑の三連祭壇画に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Damião de Góis
Lisbon
National Gallery of Canada
Philip II of Spain


section

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

According to some historians, the work could be one of the three Temptations recorded in the inventory of Philip II of Spain sent to the Escorial in 1574. From the 1950s, it had traditionally been considered more likely that the triptych was that bought by the Portuguese humanist Damião de Góis between 1523 and 1545.  In fact, the painting was documented as part of the collections in the Royal Palace of Lisbon in 1872 March from Spain, and in 1911 King Manuel II donated it to its current museum. Circle of Jheronimus Bosch, Temptation of Saint Anthony central panel copy, , a work by a follower after Bosch  can be found in the National Gallery of Canada in Ottawa.

Prompt: 聖アントニウスの誘惑の三連祭壇画の歴史を説明してください。英語で出力して下さい。

Damião de Góis
Lisbon
National Gallery of Canada
Philip II of Spain


section

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

According to some historians, the work could be one of the three Temptations recorded in the inventory of Philip II of Spain sent to the Escorial in 1574. From the 1950s, it had traditionally been considered more likely that the triptych was that bought by the Portuguese humanist Damião de Góis between 1523 and 1545.  In fact, the painting was documented as part of the collections in the Royal Palace of Lisbon in 1872 March from Spain, and in 1911 King Manuel II donated it to its current museum. Circle of Jheronimus Bosch, Temptation of Saint Anthony central panel copy, , a work by a follower after Bosch  can be found in the National Gallery of Canada in Ottawa.

Prompt: 聖アントニウスの誘惑の三連祭壇画はどのように歴史を説明していますか？英語で出力して下さい。

Damião de Góis
Lisbon
National Gallery of Canada
Philip II of Spain


section

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

According to some historians, the work could be one of the three Temptations recorded in the inventory of Philip II of Spain sent to the Escorial in 1574. From the 1950s, it had traditionally been considered more likely that the triptych was that bought by the Portuguese humanist Damião de Góis between 1523 and 1545.  In fact, the painting was documented as part of the collections in the Royal Palace of Lisbon in 1872 March from Spain, and in 1911 King Manuel II donated it to its current museum. Circle of Jheronimus Bosch, Temptation of Saint Anthony central panel copy, , a work by a follower after Bosch  can be found in the National Gallery of Canada in Ottawa.

Prompt: 聖アントニウスの誘惑の三連祭壇画に関して、どのように歴史が議論されていますか？英語で出力して下さい。

Damião de Góis
Lisbon
National Gallery of Canada
Philip II of Spain


section

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

The Temptation of St. Anthony is an  oil painting on three wooden panels, having the form of a triptych, the two outer panels being hinged shutters to the central section.  The centre panel measures 131.5 by 119 cm, and the wings measure 131.5 by 53 cm.The work tells symbolically the story of the mental and spiritual torments endured by St. Anthony Abbot throughout his life. The sources for the subjects were Athanasius of Alexandria's Life of St. Anthony, which had been popularized in Flanders by Pieter van Os, and Jacopo da Varazze's Golden Legend.

Prompt: 聖アントニウスの誘惑の三連祭壇画に焦点を当てて、その説明を説明してください。英語で出力して下さい。

Athanasius of Alexandria
Flanders
Golden Legend


section

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

The Temptation of St. Anthony is an  oil painting on three wooden panels, having the form of a triptych, the two outer panels being hinged shutters to the central section.  The centre panel measures 131.5 by 119 cm, and the wings measure 131.5 by 53 cm.The work tells symbolically the story of the mental and spiritual torments endured by St. Anthony Abbot throughout his life. The sources for the subjects were Athanasius of Alexandria's Life of St. Anthony, which had been popularized in Flanders by Pieter van Os, and Jacopo da Varazze's Golden Legend.

Prompt: 聖アントニウスの誘惑の三連祭壇画の説明を説明してください。英語で出力して下さい。

Athanasius of Alexandria
Flanders
Golden Legend


section

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

The Temptation of St. Anthony is an  oil painting on three wooden panels, having the form of a triptych, the two outer panels being hinged shutters to the central section.  The centre panel measures 131.5 by 119 cm, and the wings measure 131.5 by 53 cm.The work tells symbolically the story of the mental and spiritual torments endured by St. Anthony Abbot throughout his life. The sources for the subjects were Athanasius of Alexandria's Life of St. Anthony, which had been popularized in Flanders by Pieter van Os, and Jacopo da Varazze's Golden Legend.

Prompt: 聖アントニウスの誘惑の三連祭壇画はどのように説明を説明していますか？英語で出力して下さい。

Athanasius of Alexandria
Flanders
Golden Legend


section

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

The Temptation of St. Anthony is an  oil painting on three wooden panels, having the form of a triptych, the two outer panels being hinged shutters to the central section.  The centre panel measures 131.5 by 119 cm, and the wings measure 131.5 by 53 cm.The work tells symbolically the story of the mental and spiritual torments endured by St. Anthony Abbot throughout his life. The sources for the subjects were Athanasius of Alexandria's Life of St. Anthony, which had been popularized in Flanders by Pieter van Os, and Jacopo da Varazze's Golden Legend.

Prompt: 聖アントニウスの誘惑の三連祭壇画に関して、どのように説明が議論されていますか？英語で出力して下さい。

Athanasius of Alexandria
Flanders
Golden Legend


section

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

Prompt: 聖アントニウスの誘惑の三連祭壇画に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Hieronymus Bosch
List of paintings by Hieronymus Bosch


section

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

Prompt: 聖アントニウスの誘惑の三連祭壇画の参照を説明してください。英語で出力して下さい。

Hieronymus Bosch
List of paintings by Hieronymus Bosch


section

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

Prompt: 聖アントニウスの誘惑の三連祭壇画はどのように参照を説明していますか？英語で出力して下さい。

Hieronymus Bosch
List of paintings by Hieronymus Bosch


section

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

Prompt: 聖アントニウスの誘惑の三連祭壇画に関して、どのように参照が議論されていますか？英語で出力して下さい。

Hieronymus Bosch
List of paintings by Hieronymus Bosch


subsection

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

The left panel portrays the legendary flight and the fall of St. Anthony. In the sky, the saint is brought down by a host of demons. Below, is the saint's grotto , carved within a hill in the shape of a man on all fours, whose backside forms the entrance. An impious procession is directed towards the latter, led by a demon wearing holy vestments and by a deer. In the foreground is a tired-out Anthony, supported after the fall by a monk and a layman; the latter has been traditionally identified as Bosch himself.Under the bridge which crosses an icy lake are three figures, one of which is a monk reading a letter. Also on the lake is a demon bird with skates: its beak holds a cartouche with the word "fat". This could be a reference to the simony scandal.

Prompt: 聖アントニウスの誘惑の三連祭壇画の文脈で、左パネルと説明を説明してください。英語で出力して下さい。


subsection

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

The left panel portrays the legendary flight and the fall of St. Anthony. In the sky, the saint is brought down by a host of demons. Below, is the saint's grotto , carved within a hill in the shape of a man on all fours, whose backside forms the entrance. An impious procession is directed towards the latter, led by a demon wearing holy vestments and by a deer. In the foreground is a tired-out Anthony, supported after the fall by a monk and a layman; the latter has been traditionally identified as Bosch himself.Under the bridge which crosses an icy lake are three figures, one of which is a monk reading a letter. Also on the lake is a demon bird with skates: its beak holds a cartouche with the word "fat". This could be a reference to the simony scandal.

Prompt: 聖アントニウスの誘惑の三連祭壇画の説明に関する左パネルを説明してください。英語で出力して下さい。


subsection

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

The left panel portrays the legendary flight and the fall of St. Anthony. In the sky, the saint is brought down by a host of demons. Below, is the saint's grotto , carved within a hill in the shape of a man on all fours, whose backside forms the entrance. An impious procession is directed towards the latter, led by a demon wearing holy vestments and by a deer. In the foreground is a tired-out Anthony, supported after the fall by a monk and a layman; the latter has been traditionally identified as Bosch himself.Under the bridge which crosses an icy lake are three figures, one of which is a monk reading a letter. Also on the lake is a demon bird with skates: its beak holds a cartouche with the word "fat". This could be a reference to the simony scandal.

Prompt: 聖アントニウスの誘惑の三連祭壇画では、どのように説明の左パネルが説明されていますか？英語で出力して下さい。


subsection

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

The left panel portrays the legendary flight and the fall of St. Anthony. In the sky, the saint is brought down by a host of demons. Below, is the saint's grotto , carved within a hill in the shape of a man on all fours, whose backside forms the entrance. An impious procession is directed towards the latter, led by a demon wearing holy vestments and by a deer. In the foreground is a tired-out Anthony, supported after the fall by a monk and a layman; the latter has been traditionally identified as Bosch himself.Under the bridge which crosses an icy lake are three figures, one of which is a monk reading a letter. Also on the lake is a demon bird with skates: its beak holds a cartouche with the word "fat". This could be a reference to the simony scandal.

Prompt: 聖アントニウスの誘惑の三連祭壇画の説明における左パネルの特徴を説明してください。英語で出力して下さい。


subsection

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

The center panel exemplifies Bosch's attraction to the saintly ability of refusing temptation. It depicts the temptation of St. Anthony scene proper. At the center is the saint in contemplation, with a blessing hand pointing at his small cell inside a ruined tower  where a miniature Christ appears to point at the Crucifix, to suggest the true sacrifice in reply to the profanatory mass celebrated by demons and priestess at his left. A black-skinned priestess holds a vessel with a toad, a symbol of witchcraft as well as of luxury; the animal in turns holds an egg. A black-dressed singer has a pig face and a little owl  above his head, while a crippled man is going to receive the communion. The saint looks out into the world while pointing in the direction of Christ; no one in the panel  is looking in His direction.The background shows, at left, a city on fire, a traditional symbol of the protection granted by Anthony against ergotism and fire. The monks of the Order of St. Anthony specialized in the treatment and care of victims of ergotism , who experienced burning sensations and hallucinations.The demon group at the left, including a woman wearing a helmet resembling a hollow tree, may symbolize the bloody violence. The group in the water at right may be a devilish parody of either the flight into Egypt or the Adoration of the Magi; a third demonic group is that getting out from the red fruit in the foreground. This include a devil who is playing a harp, riding a chicken, and another moving around the fish-boat at the center.In the sky are a ship-shaped bird, flying fish and winged boats. Finally, the bearded man with a top hat could be the wizard who has set up the whole visions package.

Prompt: 聖アントニウスの誘惑の三連祭壇画の文脈で、中央パネルと説明を説明してください。英語で出力して下さい。


subsection

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

The center panel exemplifies Bosch's attraction to the saintly ability of refusing temptation. It depicts the temptation of St. Anthony scene proper. At the center is the saint in contemplation, with a blessing hand pointing at his small cell inside a ruined tower  where a miniature Christ appears to point at the Crucifix, to suggest the true sacrifice in reply to the profanatory mass celebrated by demons and priestess at his left. A black-skinned priestess holds a vessel with a toad, a symbol of witchcraft as well as of luxury; the animal in turns holds an egg. A black-dressed singer has a pig face and a little owl  above his head, while a crippled man is going to receive the communion. The saint looks out into the world while pointing in the direction of Christ; no one in the panel  is looking in His direction.The background shows, at left, a city on fire, a traditional symbol of the protection granted by Anthony against ergotism and fire. The monks of the Order of St. Anthony specialized in the treatment and care of victims of ergotism , who experienced burning sensations and hallucinations.The demon group at the left, including a woman wearing a helmet resembling a hollow tree, may symbolize the bloody violence. The group in the water at right may be a devilish parody of either the flight into Egypt or the Adoration of the Magi; a third demonic group is that getting out from the red fruit in the foreground. This include a devil who is playing a harp, riding a chicken, and another moving around the fish-boat at the center.In the sky are a ship-shaped bird, flying fish and winged boats. Finally, the bearded man with a top hat could be the wizard who has set up the whole visions package.

Prompt: 聖アントニウスの誘惑の三連祭壇画の説明に関する中央パネルを説明してください。英語で出力して下さい。


subsection

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

The center panel exemplifies Bosch's attraction to the saintly ability of refusing temptation. It depicts the temptation of St. Anthony scene proper. At the center is the saint in contemplation, with a blessing hand pointing at his small cell inside a ruined tower  where a miniature Christ appears to point at the Crucifix, to suggest the true sacrifice in reply to the profanatory mass celebrated by demons and priestess at his left. A black-skinned priestess holds a vessel with a toad, a symbol of witchcraft as well as of luxury; the animal in turns holds an egg. A black-dressed singer has a pig face and a little owl  above his head, while a crippled man is going to receive the communion. The saint looks out into the world while pointing in the direction of Christ; no one in the panel  is looking in His direction.The background shows, at left, a city on fire, a traditional symbol of the protection granted by Anthony against ergotism and fire. The monks of the Order of St. Anthony specialized in the treatment and care of victims of ergotism , who experienced burning sensations and hallucinations.The demon group at the left, including a woman wearing a helmet resembling a hollow tree, may symbolize the bloody violence. The group in the water at right may be a devilish parody of either the flight into Egypt or the Adoration of the Magi; a third demonic group is that getting out from the red fruit in the foreground. This include a devil who is playing a harp, riding a chicken, and another moving around the fish-boat at the center.In the sky are a ship-shaped bird, flying fish and winged boats. Finally, the bearded man with a top hat could be the wizard who has set up the whole visions package.

Prompt: 聖アントニウスの誘惑の三連祭壇画では、どのように説明の中央パネルが説明されていますか？英語で出力して下さい。


subsection

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

The center panel exemplifies Bosch's attraction to the saintly ability of refusing temptation. It depicts the temptation of St. Anthony scene proper. At the center is the saint in contemplation, with a blessing hand pointing at his small cell inside a ruined tower  where a miniature Christ appears to point at the Crucifix, to suggest the true sacrifice in reply to the profanatory mass celebrated by demons and priestess at his left. A black-skinned priestess holds a vessel with a toad, a symbol of witchcraft as well as of luxury; the animal in turns holds an egg. A black-dressed singer has a pig face and a little owl  above his head, while a crippled man is going to receive the communion. The saint looks out into the world while pointing in the direction of Christ; no one in the panel  is looking in His direction.The background shows, at left, a city on fire, a traditional symbol of the protection granted by Anthony against ergotism and fire. The monks of the Order of St. Anthony specialized in the treatment and care of victims of ergotism , who experienced burning sensations and hallucinations.The demon group at the left, including a woman wearing a helmet resembling a hollow tree, may symbolize the bloody violence. The group in the water at right may be a devilish parody of either the flight into Egypt or the Adoration of the Magi; a third demonic group is that getting out from the red fruit in the foreground. This include a devil who is playing a harp, riding a chicken, and another moving around the fish-boat at the center.In the sky are a ship-shaped bird, flying fish and winged boats. Finally, the bearded man with a top hat could be the wizard who has set up the whole visions package.

Prompt: 聖アントニウスの誘惑の三連祭壇画の説明における中央パネルの特徴を説明してください。英語で出力して下さい。


subsection

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

The right panel depicts the Contemplation of St. Anthony. The two figures riding the fish in the sky had, according to the legend, obtained the capability to fly by the Devil in order to partake in Witches' Sabbaths.In the foreground is a naked woman, a symbol of luxury.The background includes a towered city, windmills and a lake.

Prompt: 聖アントニウスの誘惑の三連祭壇画の文脈で、右パネルと説明を説明してください。英語で出力して下さい。


subsection

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

The right panel depicts the Contemplation of St. Anthony. The two figures riding the fish in the sky had, according to the legend, obtained the capability to fly by the Devil in order to partake in Witches' Sabbaths.In the foreground is a naked woman, a symbol of luxury.The background includes a towered city, windmills and a lake.

Prompt: 聖アントニウスの誘惑の三連祭壇画の説明に関する右パネルを説明してください。英語で出力して下さい。


subsection

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

The right panel depicts the Contemplation of St. Anthony. The two figures riding the fish in the sky had, according to the legend, obtained the capability to fly by the Devil in order to partake in Witches' Sabbaths.In the foreground is a naked woman, a symbol of luxury.The background includes a towered city, windmills and a lake.

Prompt: 聖アントニウスの誘惑の三連祭壇画では、どのように説明の右パネルが説明されていますか？英語で出力して下さい。


subsection

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

The right panel depicts the Contemplation of St. Anthony. The two figures riding the fish in the sky had, according to the legend, obtained the capability to fly by the Devil in order to partake in Witches' Sabbaths.In the foreground is a naked woman, a symbol of luxury.The background includes a towered city, windmills and a lake.

Prompt: 聖アントニウスの誘惑の三連祭壇画の説明における右パネルの特徴を説明してください。英語で出力して下さい。


subsection

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

As usual in other similar Flemish works of the time, the exteriors of the shutters are painted in grisaille. By tradition, in many churches artworks are covered, and altarpieces with wings are closed in the week before Easter. The subdued coloration and the subject matter of the shutter exteriors of this triptych are in keeping with the Lenten theme.The left panel shows the Arrest of Christ, including, in the foreground, St. Peter cutting Malchus's ear and, in the background, the soldiers are surrounding a fallen Jesus; at the left is Judas fleeing after his kiss.The right panel portrays Christ Carrying the Cross in the background, while the foreground depicts the two thieves, one confessing and the other refusing to convert. Around Jesus is a crowd, in which figures such as Simon of Cyrene, who is supporting the cross, and the Veronica, can be identified.

Prompt: 聖アントニウスの誘惑の三連祭壇画の文脈で、シャッターと説明を説明してください。英語で出力して下さい。


subsection

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

As usual in other similar Flemish works of the time, the exteriors of the shutters are painted in grisaille. By tradition, in many churches artworks are covered, and altarpieces with wings are closed in the week before Easter. The subdued coloration and the subject matter of the shutter exteriors of this triptych are in keeping with the Lenten theme.The left panel shows the Arrest of Christ, including, in the foreground, St. Peter cutting Malchus's ear and, in the background, the soldiers are surrounding a fallen Jesus; at the left is Judas fleeing after his kiss.The right panel portrays Christ Carrying the Cross in the background, while the foreground depicts the two thieves, one confessing and the other refusing to convert. Around Jesus is a crowd, in which figures such as Simon of Cyrene, who is supporting the cross, and the Veronica, can be identified.

Prompt: 聖アントニウスの誘惑の三連祭壇画の説明に関するシャッターを説明してください。英語で出力して下さい。


subsection

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

As usual in other similar Flemish works of the time, the exteriors of the shutters are painted in grisaille. By tradition, in many churches artworks are covered, and altarpieces with wings are closed in the week before Easter. The subdued coloration and the subject matter of the shutter exteriors of this triptych are in keeping with the Lenten theme.The left panel shows the Arrest of Christ, including, in the foreground, St. Peter cutting Malchus's ear and, in the background, the soldiers are surrounding a fallen Jesus; at the left is Judas fleeing after his kiss.The right panel portrays Christ Carrying the Cross in the background, while the foreground depicts the two thieves, one confessing and the other refusing to convert. Around Jesus is a crowd, in which figures such as Simon of Cyrene, who is supporting the cross, and the Veronica, can be identified.

Prompt: 聖アントニウスの誘惑の三連祭壇画では、どのように説明のシャッターが説明されていますか？英語で出力して下さい。


subsection

聖アントニウスの誘惑の三連祭壇画

Triptych of the Temptation of St. Anthony

As usual in other similar Flemish works of the time, the exteriors of the shutters are painted in grisaille. By tradition, in many churches artworks are covered, and altarpieces with wings are closed in the week before Easter. The subdued coloration and the subject matter of the shutter exteriors of this triptych are in keeping with the Lenten theme.The left panel shows the Arrest of Christ, including, in the foreground, St. Peter cutting Malchus's ear and, in the background, the soldiers are surrounding a fallen Jesus; at the left is Judas fleeing after his kiss.The right panel portrays Christ Carrying the Cross in the background, while the foreground depicts the two thieves, one confessing and the other refusing to convert. Around Jesus is a crowd, in which figures such as Simon of Cyrene, who is supporting the cross, and the Veronica, can be identified.

Prompt: 聖アントニウスの誘惑の三連祭壇画の説明におけるシャッターの特徴を説明してください。英語で出力して下さい。


section

ザクセン選帝侯フリードリヒ3世の肖像

The Portrait of Frederick III of Saxony is a tempera-on-canvas painting by German Renaissance artist Albrecht Dürer, executed in 1496. It is housed in the Gemäldegalerie of Berlin, Germany.

Prompt: ザクセン選帝侯フリードリヒ3世の肖像に焦点を当てて、その抽象を説明してください。英語で出力して下さい。