ニコラエス・チュルプ博士の解剖学の授業

Prompt: ニコラエス・チュルプ博士の解剖学の授業に焦点を当てて、その背景を説明してください。英語で出力して下さい。

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

The event can be dated to 31 January 1632: the Amsterdam Guild of Surgeons, of which Tulp was official City Anatomist, permitted only one public dissection a year, and the body would have to be that of an executed criminal.Anatomy lessons were a social event in the 17th century, taking place in lecture rooms that were actual theatres, with students, colleagues and the general public being permitted to attend on payment of an entrance fee. The spectators are appropriately dressed for this social occasion. It is thought that the uppermost (not holding the paper) and farthest left figures were added to the picture later.Every five to ten years, the Surgeon's Guild would commission a portrait by a leading portraitist of the period; Rembrandt was commissioned for this task when he was 25 years old, and newly arrived in Amsterdam. It was his first major commission in Amsterdam. Each of the men included in the portrait would have paid a certain amount of money to be included in the work, and the more central figures (in this case, Tulp) probably paid more, even twice as much. Rembrandt's anatomical portrait radically altered the conventions of the genre, by including a full-length corpse in the center of the image (using Christ-like iconography) and creating not just a portrait but a dramatic mise-en-scène. Rembrandt's image is a fiction; in a typical anatomy lesson, the surgeon would begin by opening the chest cavity and thorax because the internal organs there decay most rapidly.One person is missing: the Preparator, whose task was to prepare the body for the lesson. In the 17th century an important scientist such as Tulp would not be involved in menial and bloody work like dissection, and such tasks would be left to others. It is for this reason that the picture shows no cutting instruments. Instead we see in the lower right corner an enormous open textbook on anatomy, possibly the 1543 De humani corporis fabrica (Fabric of the Human Body) by Andreas Vesalius.


ニコラエス・チュルプ博士の解剖学の授業

Prompt: ニコラエス・チュルプ博士の解剖学の授業の背景を説明してください。英語で出力して下さい。

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

The event can be dated to 31 January 1632: the Amsterdam Guild of Surgeons, of which Tulp was official City Anatomist, permitted only one public dissection a year, and the body would have to be that of an executed criminal.Anatomy lessons were a social event in the 17th century, taking place in lecture rooms that were actual theatres, with students, colleagues and the general public being permitted to attend on payment of an entrance fee. The spectators are appropriately dressed for this social occasion. It is thought that the uppermost (not holding the paper) and farthest left figures were added to the picture later.Every five to ten years, the Surgeon's Guild would commission a portrait by a leading portraitist of the period; Rembrandt was commissioned for this task when he was 25 years old, and newly arrived in Amsterdam. It was his first major commission in Amsterdam. Each of the men included in the portrait would have paid a certain amount of money to be included in the work, and the more central figures (in this case, Tulp) probably paid more, even twice as much. Rembrandt's anatomical portrait radically altered the conventions of the genre, by including a full-length corpse in the center of the image (using Christ-like iconography) and creating not just a portrait but a dramatic mise-en-scène. Rembrandt's image is a fiction; in a typical anatomy lesson, the surgeon would begin by opening the chest cavity and thorax because the internal organs there decay most rapidly.One person is missing: the Preparator, whose task was to prepare the body for the lesson. In the 17th century an important scientist such as Tulp would not be involved in menial and bloody work like dissection, and such tasks would be left to others. It is for this reason that the picture shows no cutting instruments. Instead we see in the lower right corner an enormous open textbook on anatomy, possibly the 1543 De humani corporis fabrica (Fabric of the Human Body) by Andreas Vesalius.


ニコラエス・チュルプ博士の解剖学の授業

Prompt: ニコラエス・チュルプ博士の解剖学の授業はどのように背景を説明していますか？英語で出力して下さい。

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

The event can be dated to 31 January 1632: the Amsterdam Guild of Surgeons, of which Tulp was official City Anatomist, permitted only one public dissection a year, and the body would have to be that of an executed criminal.Anatomy lessons were a social event in the 17th century, taking place in lecture rooms that were actual theatres, with students, colleagues and the general public being permitted to attend on payment of an entrance fee. The spectators are appropriately dressed for this social occasion. It is thought that the uppermost (not holding the paper) and farthest left figures were added to the picture later.Every five to ten years, the Surgeon's Guild would commission a portrait by a leading portraitist of the period; Rembrandt was commissioned for this task when he was 25 years old, and newly arrived in Amsterdam. It was his first major commission in Amsterdam. Each of the men included in the portrait would have paid a certain amount of money to be included in the work, and the more central figures (in this case, Tulp) probably paid more, even twice as much. Rembrandt's anatomical portrait radically altered the conventions of the genre, by including a full-length corpse in the center of the image (using Christ-like iconography) and creating not just a portrait but a dramatic mise-en-scène. Rembrandt's image is a fiction; in a typical anatomy lesson, the surgeon would begin by opening the chest cavity and thorax because the internal organs there decay most rapidly.One person is missing: the Preparator, whose task was to prepare the body for the lesson. In the 17th century an important scientist such as Tulp would not be involved in menial and bloody work like dissection, and such tasks would be left to others. It is for this reason that the picture shows no cutting instruments. Instead we see in the lower right corner an enormous open textbook on anatomy, possibly the 1543 De humani corporis fabrica (Fabric of the Human Body) by Andreas Vesalius.


ニコラエス・チュルプ博士の解剖学の授業

Prompt: ニコラエス・チュルプ博士の解剖学の授業に関して、どのように背景が議論されていますか？英語で出力して下さい。

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

The event can be dated to 31 January 1632: the Amsterdam Guild of Surgeons, of which Tulp was official City Anatomist, permitted only one public dissection a year, and the body would have to be that of an executed criminal.Anatomy lessons were a social event in the 17th century, taking place in lecture rooms that were actual theatres, with students, colleagues and the general public being permitted to attend on payment of an entrance fee. The spectators are appropriately dressed for this social occasion. It is thought that the uppermost (not holding the paper) and farthest left figures were added to the picture later.Every five to ten years, the Surgeon's Guild would commission a portrait by a leading portraitist of the period; Rembrandt was commissioned for this task when he was 25 years old, and newly arrived in Amsterdam. It was his first major commission in Amsterdam. Each of the men included in the portrait would have paid a certain amount of money to be included in the work, and the more central figures (in this case, Tulp) probably paid more, even twice as much. Rembrandt's anatomical portrait radically altered the conventions of the genre, by including a full-length corpse in the center of the image (using Christ-like iconography) and creating not just a portrait but a dramatic mise-en-scène. Rembrandt's image is a fiction; in a typical anatomy lesson, the surgeon would begin by opening the chest cavity and thorax because the internal organs there decay most rapidly.One person is missing: the Preparator, whose task was to prepare the body for the lesson. In the 17th century an important scientist such as Tulp would not be involved in menial and bloody work like dissection, and such tasks would be left to others. It is for this reason that the picture shows no cutting instruments. Instead we see in the lower right corner an enormous open textbook on anatomy, possibly the 1543 De humani corporis fabrica (Fabric of the Human Body) by Andreas Vesalius.


ニコラエス・チュルプ博士の解剖学の授業

Prompt: ニコラエス・チュルプ博士の解剖学の授業に焦点を当てて、その死体を説明してください。英語で出力して下さい。

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

The corpse is that of the criminal Aris Kindt (alias of Adriaan Adriaanszoon), who was convicted for armed robbery and sentenced to death by hanging. He was executed earlier on the same day of the scene. The face of the corpse is partially shaded, a suggestion of umbra mortis (shadow of death), a technique that Rembrandt was to use frequently.The French art historian Jean-Marie Clarke suggests that the navel of the corpse has the shape of a capital R and connects this observation to the fact that Rembrandt worked intensively on his signatures in 1632, using three types consecutively before settling on the final, first name form in 1633.Kindt was discussed in the 1999 novel The Rings of Saturn by W. G. Sebald, and plays a significant role in Laird Hunt's 2006 novel The Exquisite. In her 2014 historical fiction novel The Anatomy Lesson, author and journalist Nina Siegal tells the life story of Aris Kindt, based on documents about his criminal history that she discovered in the Amsterdam city archives.Medical specialists have commented on the accuracy of muscles and tendons painted by the 26-year-old Rembrandt. It is not known where he obtained such knowledge; it is possible that he copied the details from an anatomical textbook. However, in 2006 Dutch researchers recreated the scene with a male cadaver, revealing several discrepancies of the exposed left forearm compared to that of a real corpse.In a 2007 study, the American artist and anatomist David J. Jackowe and his colleagues demonstrated that the mysterious white cord that courses along the ulnar aspect of the cadaver's carpus and little finger, long thought to be either an ulnar nerve variant or artistic error, is most likely the tendon of a variant forearm muscle, the accessory abductor digiti minimi.


ニコラエス・チュルプ博士の解剖学の授業

Prompt: ニコラエス・チュルプ博士の解剖学の授業の死体を説明してください。英語で出力して下さい。

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

The corpse is that of the criminal Aris Kindt (alias of Adriaan Adriaanszoon), who was convicted for armed robbery and sentenced to death by hanging. He was executed earlier on the same day of the scene. The face of the corpse is partially shaded, a suggestion of umbra mortis (shadow of death), a technique that Rembrandt was to use frequently.The French art historian Jean-Marie Clarke suggests that the navel of the corpse has the shape of a capital R and connects this observation to the fact that Rembrandt worked intensively on his signatures in 1632, using three types consecutively before settling on the final, first name form in 1633.Kindt was discussed in the 1999 novel The Rings of Saturn by W. G. Sebald, and plays a significant role in Laird Hunt's 2006 novel The Exquisite. In her 2014 historical fiction novel The Anatomy Lesson, author and journalist Nina Siegal tells the life story of Aris Kindt, based on documents about his criminal history that she discovered in the Amsterdam city archives.Medical specialists have commented on the accuracy of muscles and tendons painted by the 26-year-old Rembrandt. It is not known where he obtained such knowledge; it is possible that he copied the details from an anatomical textbook. However, in 2006 Dutch researchers recreated the scene with a male cadaver, revealing several discrepancies of the exposed left forearm compared to that of a real corpse.In a 2007 study, the American artist and anatomist David J. Jackowe and his colleagues demonstrated that the mysterious white cord that courses along the ulnar aspect of the cadaver's carpus and little finger, long thought to be either an ulnar nerve variant or artistic error, is most likely the tendon of a variant forearm muscle, the accessory abductor digiti minimi.


ニコラエス・チュルプ博士の解剖学の授業

Prompt: ニコラエス・チュルプ博士の解剖学の授業はどのように死体を説明していますか？英語で出力して下さい。

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

The corpse is that of the criminal Aris Kindt (alias of Adriaan Adriaanszoon), who was convicted for armed robbery and sentenced to death by hanging. He was executed earlier on the same day of the scene. The face of the corpse is partially shaded, a suggestion of umbra mortis (shadow of death), a technique that Rembrandt was to use frequently.The French art historian Jean-Marie Clarke suggests that the navel of the corpse has the shape of a capital R and connects this observation to the fact that Rembrandt worked intensively on his signatures in 1632, using three types consecutively before settling on the final, first name form in 1633.Kindt was discussed in the 1999 novel The Rings of Saturn by W. G. Sebald, and plays a significant role in Laird Hunt's 2006 novel The Exquisite. In her 2014 historical fiction novel The Anatomy Lesson, author and journalist Nina Siegal tells the life story of Aris Kindt, based on documents about his criminal history that she discovered in the Amsterdam city archives.Medical specialists have commented on the accuracy of muscles and tendons painted by the 26-year-old Rembrandt. It is not known where he obtained such knowledge; it is possible that he copied the details from an anatomical textbook. However, in 2006 Dutch researchers recreated the scene with a male cadaver, revealing several discrepancies of the exposed left forearm compared to that of a real corpse.In a 2007 study, the American artist and anatomist David J. Jackowe and his colleagues demonstrated that the mysterious white cord that courses along the ulnar aspect of the cadaver's carpus and little finger, long thought to be either an ulnar nerve variant or artistic error, is most likely the tendon of a variant forearm muscle, the accessory abductor digiti minimi.


ニコラエス・チュルプ博士の解剖学の授業

Prompt: ニコラエス・チュルプ博士の解剖学の授業に関して、どのように死体が議論されていますか？英語で出力して下さい。

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

The corpse is that of the criminal Aris Kindt (alias of Adriaan Adriaanszoon), who was convicted for armed robbery and sentenced to death by hanging. He was executed earlier on the same day of the scene. The face of the corpse is partially shaded, a suggestion of umbra mortis (shadow of death), a technique that Rembrandt was to use frequently.The French art historian Jean-Marie Clarke suggests that the navel of the corpse has the shape of a capital R and connects this observation to the fact that Rembrandt worked intensively on his signatures in 1632, using three types consecutively before settling on the final, first name form in 1633.Kindt was discussed in the 1999 novel The Rings of Saturn by W. G. Sebald, and plays a significant role in Laird Hunt's 2006 novel The Exquisite. In her 2014 historical fiction novel The Anatomy Lesson, author and journalist Nina Siegal tells the life story of Aris Kindt, based on documents about his criminal history that she discovered in the Amsterdam city archives.Medical specialists have commented on the accuracy of muscles and tendons painted by the 26-year-old Rembrandt. It is not known where he obtained such knowledge; it is possible that he copied the details from an anatomical textbook. However, in 2006 Dutch researchers recreated the scene with a male cadaver, revealing several discrepancies of the exposed left forearm compared to that of a real corpse.In a 2007 study, the American artist and anatomist David J. Jackowe and his colleagues demonstrated that the mysterious white cord that courses along the ulnar aspect of the cadaver's carpus and little finger, long thought to be either an ulnar nerve variant or artistic error, is most likely the tendon of a variant forearm muscle, the accessory abductor digiti minimi.


ニコラエス・チュルプ博士の解剖学の授業

Prompt: ニコラエス・チュルプ博士の解剖学の授業に焦点を当てて、その関連作品を説明してください。英語で出力して下さい。

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

The Anatomy Lesson of Dr. Deijman, painted by Rembrandt in 1656, was intended to be displayed in the Anatomical Hall in Amsterdam alongside The anatomy lesson of Tulp.Deijman was Tulp's immediate successor in the post of praelector chirugic et anatomie. The painting was damaged by fire in 1723, and only a central fragment survives.Around 1856 Édouard Manet visited The Hague and made a small oil on panel copy of The Anatomy Lesson. Broadly painted in a limited palette, Manet gave the painting to his physician, François Siredey.A less detailed copy of The Anatomy Lesson of Dr Nicolaes Tulp by an unknown artist hangs in Edinburgh as part of The University of Edinburgh Fine Art Collection.The Gross Clinic of 1875 and The Agnew Clinic of 1889 are paintings by the American artist Thomas Eakins which treat a similar subject, operations on live patients in the presence of medical students.In 2010, Yiull Damaso created a parody of the painting depicting prominent South Africans. Nelson Mandela was the cadaver, Nkosi Johnson was the instructor, and the students were Desmond Tutu, F. W. de Klerk, Thabo Mbeki, Jacob Zuma, Cyril Ramaphosa, Trevor Manuel, and Helen Zille. The African National Congress condemned the work as disrespectful to Mandela, racist, and culturally insensitive to African taboos on depiction of living people as dead.The 2012 painting The Anatomy Lesson of Dr Freeman by Susan Dorothea White references the Rembrandt composition but renders each of the onlookers as an anatomical prosection and skeleton in a contemporary university laboratory; the enormous book is replaced by a computer screen and the background chart by a projection screen; the tendon orientation in the cadaver's left forearm is corrected.


ニコラエス・チュルプ博士の解剖学の授業

Prompt: ニコラエス・チュルプ博士の解剖学の授業の関連作品を説明してください。英語で出力して下さい。

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

The Anatomy Lesson of Dr. Deijman, painted by Rembrandt in 1656, was intended to be displayed in the Anatomical Hall in Amsterdam alongside The anatomy lesson of Tulp.Deijman was Tulp's immediate successor in the post of praelector chirugic et anatomie. The painting was damaged by fire in 1723, and only a central fragment survives.Around 1856 Édouard Manet visited The Hague and made a small oil on panel copy of The Anatomy Lesson. Broadly painted in a limited palette, Manet gave the painting to his physician, François Siredey.A less detailed copy of The Anatomy Lesson of Dr Nicolaes Tulp by an unknown artist hangs in Edinburgh as part of The University of Edinburgh Fine Art Collection.The Gross Clinic of 1875 and The Agnew Clinic of 1889 are paintings by the American artist Thomas Eakins which treat a similar subject, operations on live patients in the presence of medical students.In 2010, Yiull Damaso created a parody of the painting depicting prominent South Africans. Nelson Mandela was the cadaver, Nkosi Johnson was the instructor, and the students were Desmond Tutu, F. W. de Klerk, Thabo Mbeki, Jacob Zuma, Cyril Ramaphosa, Trevor Manuel, and Helen Zille. The African National Congress condemned the work as disrespectful to Mandela, racist, and culturally insensitive to African taboos on depiction of living people as dead.The 2012 painting The Anatomy Lesson of Dr Freeman by Susan Dorothea White references the Rembrandt composition but renders each of the onlookers as an anatomical prosection and skeleton in a contemporary university laboratory; the enormous book is replaced by a computer screen and the background chart by a projection screen; the tendon orientation in the cadaver's left forearm is corrected.


ニコラエス・チュルプ博士の解剖学の授業

Prompt: ニコラエス・チュルプ博士の解剖学の授業はどのように関連作品を説明していますか？英語で出力して下さい。

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

The Anatomy Lesson of Dr. Deijman, painted by Rembrandt in 1656, was intended to be displayed in the Anatomical Hall in Amsterdam alongside The anatomy lesson of Tulp.Deijman was Tulp's immediate successor in the post of praelector chirugic et anatomie. The painting was damaged by fire in 1723, and only a central fragment survives.Around 1856 Édouard Manet visited The Hague and made a small oil on panel copy of The Anatomy Lesson. Broadly painted in a limited palette, Manet gave the painting to his physician, François Siredey.A less detailed copy of The Anatomy Lesson of Dr Nicolaes Tulp by an unknown artist hangs in Edinburgh as part of The University of Edinburgh Fine Art Collection.The Gross Clinic of 1875 and The Agnew Clinic of 1889 are paintings by the American artist Thomas Eakins which treat a similar subject, operations on live patients in the presence of medical students.In 2010, Yiull Damaso created a parody of the painting depicting prominent South Africans. Nelson Mandela was the cadaver, Nkosi Johnson was the instructor, and the students were Desmond Tutu, F. W. de Klerk, Thabo Mbeki, Jacob Zuma, Cyril Ramaphosa, Trevor Manuel, and Helen Zille. The African National Congress condemned the work as disrespectful to Mandela, racist, and culturally insensitive to African taboos on depiction of living people as dead.The 2012 painting The Anatomy Lesson of Dr Freeman by Susan Dorothea White references the Rembrandt composition but renders each of the onlookers as an anatomical prosection and skeleton in a contemporary university laboratory; the enormous book is replaced by a computer screen and the background chart by a projection screen; the tendon orientation in the cadaver's left forearm is corrected.


ニコラエス・チュルプ博士の解剖学の授業

Prompt: ニコラエス・チュルプ博士の解剖学の授業に関して、どのように関連作品が議論されていますか？英語で出力して下さい。

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

The Anatomy Lesson of Dr. Deijman, painted by Rembrandt in 1656, was intended to be displayed in the Anatomical Hall in Amsterdam alongside The anatomy lesson of Tulp.Deijman was Tulp's immediate successor in the post of praelector chirugic et anatomie. The painting was damaged by fire in 1723, and only a central fragment survives.Around 1856 Édouard Manet visited The Hague and made a small oil on panel copy of The Anatomy Lesson. Broadly painted in a limited palette, Manet gave the painting to his physician, François Siredey.A less detailed copy of The Anatomy Lesson of Dr Nicolaes Tulp by an unknown artist hangs in Edinburgh as part of The University of Edinburgh Fine Art Collection.The Gross Clinic of 1875 and The Agnew Clinic of 1889 are paintings by the American artist Thomas Eakins which treat a similar subject, operations on live patients in the presence of medical students.In 2010, Yiull Damaso created a parody of the painting depicting prominent South Africans. Nelson Mandela was the cadaver, Nkosi Johnson was the instructor, and the students were Desmond Tutu, F. W. de Klerk, Thabo Mbeki, Jacob Zuma, Cyril Ramaphosa, Trevor Manuel, and Helen Zille. The African National Congress condemned the work as disrespectful to Mandela, racist, and culturally insensitive to African taboos on depiction of living people as dead.The 2012 painting The Anatomy Lesson of Dr Freeman by Susan Dorothea White references the Rembrandt composition but renders each of the onlookers as an anatomical prosection and skeleton in a contemporary university laboratory; the enormous book is replaced by a computer screen and the background chart by a projection screen; the tendon orientation in the cadaver's left forearm is corrected.


ニコラエス・チュルプ博士の解剖学の授業

Prompt: ニコラエス・チュルプ博士の解剖学の授業に焦点を当てて、そのポピュラー文化においてを説明してください。英語で出力して下さい。

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

In Asterix and the Soothsayer (1972), Uderzo and Goscinny reference the painting at the bottom of page 10, where the characters observe the disembowelment of a fish.The 2011 video game Deus Ex: Human Revolution references the painting in both in-game portraits that can be found on the wall and in a certain cinematic trailer, featuring the main protagonist Adam Jensen as the cadaver as Dr. Nicolaes and his students study his charred and ruined arms, which in the actual story become amputated and replaced with mechanical limbs.In the 2012 German film Barbara, there is a scene in which a doctor offers his interpretation of the painting to a colleague (the protagonist) when she points out the inaccuracy of Aris Kindt's left hand.The painting is discussed by the narrator (a young man) and his mother during a visit to the Met in The Goldfinch, a 2013 novel by Donna Tartt.2014's The Anatomy Lesson by Nina Siegal is a fictionalized account of the painting's creation and backstory, based on six years of historical research and archival documents about Aris Kindt's life.The 2017 video game Observer features an edited version of the painting with the muscles and tendons replaced with sub-dermal cybernetics, in line with the game's themes of transhumanism.Nicoleas Tulp's alma mater Amsterdam University Medical Centers hosts a yearly Anatomy Lesson in tribute. Previous speakers include Anthony Fauci. The anatomist Gunther von Hagens always wears a black fedora in public, even when performing autopsies, in a tribute to Tulp's hat in the painting.


ニコラエス・チュルプ博士の解剖学の授業

Prompt: ニコラエス・チュルプ博士の解剖学の授業のポピュラー文化においてを説明してください。英語で出力して下さい。

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

In Asterix and the Soothsayer (1972), Uderzo and Goscinny reference the painting at the bottom of page 10, where the characters observe the disembowelment of a fish.The 2011 video game Deus Ex: Human Revolution references the painting in both in-game portraits that can be found on the wall and in a certain cinematic trailer, featuring the main protagonist Adam Jensen as the cadaver as Dr. Nicolaes and his students study his charred and ruined arms, which in the actual story become amputated and replaced with mechanical limbs.In the 2012 German film Barbara, there is a scene in which a doctor offers his interpretation of the painting to a colleague (the protagonist) when she points out the inaccuracy of Aris Kindt's left hand.The painting is discussed by the narrator (a young man) and his mother during a visit to the Met in The Goldfinch, a 2013 novel by Donna Tartt.2014's The Anatomy Lesson by Nina Siegal is a fictionalized account of the painting's creation and backstory, based on six years of historical research and archival documents about Aris Kindt's life.The 2017 video game Observer features an edited version of the painting with the muscles and tendons replaced with sub-dermal cybernetics, in line with the game's themes of transhumanism.Nicoleas Tulp's alma mater Amsterdam University Medical Centers hosts a yearly Anatomy Lesson in tribute. Previous speakers include Anthony Fauci. The anatomist Gunther von Hagens always wears a black fedora in public, even when performing autopsies, in a tribute to Tulp's hat in the painting.


ニコラエス・チュルプ博士の解剖学の授業

Prompt: ニコラエス・チュルプ博士の解剖学の授業はどのようにポピュラー文化においてを説明していますか？英語で出力して下さい。

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

In Asterix and the Soothsayer (1972), Uderzo and Goscinny reference the painting at the bottom of page 10, where the characters observe the disembowelment of a fish.The 2011 video game Deus Ex: Human Revolution references the painting in both in-game portraits that can be found on the wall and in a certain cinematic trailer, featuring the main protagonist Adam Jensen as the cadaver as Dr. Nicolaes and his students study his charred and ruined arms, which in the actual story become amputated and replaced with mechanical limbs.In the 2012 German film Barbara, there is a scene in which a doctor offers his interpretation of the painting to a colleague (the protagonist) when she points out the inaccuracy of Aris Kindt's left hand.The painting is discussed by the narrator (a young man) and his mother during a visit to the Met in The Goldfinch, a 2013 novel by Donna Tartt.2014's The Anatomy Lesson by Nina Siegal is a fictionalized account of the painting's creation and backstory, based on six years of historical research and archival documents about Aris Kindt's life.The 2017 video game Observer features an edited version of the painting with the muscles and tendons replaced with sub-dermal cybernetics, in line with the game's themes of transhumanism.Nicoleas Tulp's alma mater Amsterdam University Medical Centers hosts a yearly Anatomy Lesson in tribute. Previous speakers include Anthony Fauci. The anatomist Gunther von Hagens always wears a black fedora in public, even when performing autopsies, in a tribute to Tulp's hat in the painting.


ニコラエス・チュルプ博士の解剖学の授業

Prompt: ニコラエス・チュルプ博士の解剖学の授業に関して、どのようにポピュラー文化においてが議論されていますか？英語で出力して下さい。

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

In Asterix and the Soothsayer (1972), Uderzo and Goscinny reference the painting at the bottom of page 10, where the characters observe the disembowelment of a fish.The 2011 video game Deus Ex: Human Revolution references the painting in both in-game portraits that can be found on the wall and in a certain cinematic trailer, featuring the main protagonist Adam Jensen as the cadaver as Dr. Nicolaes and his students study his charred and ruined arms, which in the actual story become amputated and replaced with mechanical limbs.In the 2012 German film Barbara, there is a scene in which a doctor offers his interpretation of the painting to a colleague (the protagonist) when she points out the inaccuracy of Aris Kindt's left hand.The painting is discussed by the narrator (a young man) and his mother during a visit to the Met in The Goldfinch, a 2013 novel by Donna Tartt.2014's The Anatomy Lesson by Nina Siegal is a fictionalized account of the painting's creation and backstory, based on six years of historical research and archival documents about Aris Kindt's life.The 2017 video game Observer features an edited version of the painting with the muscles and tendons replaced with sub-dermal cybernetics, in line with the game's themes of transhumanism.Nicoleas Tulp's alma mater Amsterdam University Medical Centers hosts a yearly Anatomy Lesson in tribute. Previous speakers include Anthony Fauci. The anatomist Gunther von Hagens always wears a black fedora in public, even when performing autopsies, in a tribute to Tulp's hat in the painting.


じゃがいもを食べる人々

Prompt: じゃがいもを食べる人々に焦点を当てて、そのabstractを説明してください。英語で出力して下さい。

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

The Potato Eaters (Dutch: De Aardappeleters) is an oil painting by Dutch artist Vincent van Gogh painted in April 1885 in Nuenen, Netherlands.It is in the Van Gogh Museum in Amsterdam. The original oil sketch is at the Kröller-Müller Museum in Otterlo, and he made lithographs of the image, which are held in collections including the Museum of Modern Art in New York City. The painting is considered to be one of Van Gogh's masterpieces.


じゃがいもを食べる人々

Prompt: じゃがいもを食べる人々のabstractを説明してください。英語で出力して下さい。

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

The Potato Eaters (Dutch: De Aardappeleters) is an oil painting by Dutch artist Vincent van Gogh painted in April 1885 in Nuenen, Netherlands.It is in the Van Gogh Museum in Amsterdam. The original oil sketch is at the Kröller-Müller Museum in Otterlo, and he made lithographs of the image, which are held in collections including the Museum of Modern Art in New York City. The painting is considered to be one of Van Gogh's masterpieces.


じゃがいもを食べる人々

Prompt: じゃがいもを食べる人々はどのようにabstractを説明していますか？英語で出力して下さい。

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

The Potato Eaters (Dutch: De Aardappeleters) is an oil painting by Dutch artist Vincent van Gogh painted in April 1885 in Nuenen, Netherlands.It is in the Van Gogh Museum in Amsterdam. The original oil sketch is at the Kröller-Müller Museum in Otterlo, and he made lithographs of the image, which are held in collections including the Museum of Modern Art in New York City. The painting is considered to be one of Van Gogh's masterpieces.


じゃがいもを食べる人々

Prompt: じゃがいもを食べる人々に関して、どのようにabstractが議論されていますか？英語で出力して下さい。

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

The Potato Eaters (Dutch: De Aardappeleters) is an oil painting by Dutch artist Vincent van Gogh painted in April 1885 in Nuenen, Netherlands.It is in the Van Gogh Museum in Amsterdam. The original oil sketch is at the Kröller-Müller Museum in Otterlo, and he made lithographs of the image, which are held in collections including the Museum of Modern Art in New York City. The painting is considered to be one of Van Gogh's masterpieces.


じゃがいもを食べる人々

Prompt: じゃがいもを食べる人々に焦点を当てて、その構成を説明してください。英語で出力して下さい。

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

During March and the beginning of April 1885, Van Gogh sketched studies for the painting and corresponded with his brother Theo, who was not impressed with his current work nor the sketches Van Gogh sent him in Paris. He began working on The Potato Eaters while living with his parents in Nuenen, a rural town which was home to many farmers, labourers and weavers. He worked on the painting from 13 April until the beginning of May, when it was mostly done except for minor changes that he made with a small brush later the same year.Van Gogh said he wanted to depict peasants as they really were. He deliberately chose coarse and ugly models, thinking that they would be natural and unspoiled in his finished work.Writing to his sister Willemina two years later in Paris, Van Gogh still considered The Potato Eaters his most successful painting: "What I think about my own work is that the painting of the peasants eating potatoes that I did in Nuenen is after all the best thing I did". However, the work was criticized by his friend Anthon van Rappard soon after it was painted. This was a blow to Van Gogh's confidence as an emerging artist, and he wrote back to his friend, "you... had no right to condemn my work in the way you did" (July 1885), and later, "I am always doing what I can't do yet in order to learn how to do it." (August 1885).Vincent Van Gogh is known to have admired the Belgian painter Charles de Groux and in particular his work The blessing before supper. De Groux's work is a solemn depiction of a peasant family saying grace before supper. The painting was closely linked to Christian representations of the Last Supper. Van Gogh's The Potato Eaters was inspired by this work of de Groux and similar religious connotations can be identified in Van Gogh's work.


じゃがいもを食べる人々

Prompt: じゃがいもを食べる人々の構成を説明してください。英語で出力して下さい。

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

During March and the beginning of April 1885, Van Gogh sketched studies for the painting and corresponded with his brother Theo, who was not impressed with his current work nor the sketches Van Gogh sent him in Paris. He began working on The Potato Eaters while living with his parents in Nuenen, a rural town which was home to many farmers, labourers and weavers. He worked on the painting from 13 April until the beginning of May, when it was mostly done except for minor changes that he made with a small brush later the same year.Van Gogh said he wanted to depict peasants as they really were. He deliberately chose coarse and ugly models, thinking that they would be natural and unspoiled in his finished work.Writing to his sister Willemina two years later in Paris, Van Gogh still considered The Potato Eaters his most successful painting: "What I think about my own work is that the painting of the peasants eating potatoes that I did in Nuenen is after all the best thing I did". However, the work was criticized by his friend Anthon van Rappard soon after it was painted. This was a blow to Van Gogh's confidence as an emerging artist, and he wrote back to his friend, "you... had no right to condemn my work in the way you did" (July 1885), and later, "I am always doing what I can't do yet in order to learn how to do it." (August 1885).Vincent Van Gogh is known to have admired the Belgian painter Charles de Groux and in particular his work The blessing before supper. De Groux's work is a solemn depiction of a peasant family saying grace before supper. The painting was closely linked to Christian representations of the Last Supper. Van Gogh's The Potato Eaters was inspired by this work of de Groux and similar religious connotations can be identified in Van Gogh's work.


じゃがいもを食べる人々

Prompt: じゃがいもを食べる人々はどのように構成を説明していますか？英語で出力して下さい。

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

During March and the beginning of April 1885, Van Gogh sketched studies for the painting and corresponded with his brother Theo, who was not impressed with his current work nor the sketches Van Gogh sent him in Paris. He began working on The Potato Eaters while living with his parents in Nuenen, a rural town which was home to many farmers, labourers and weavers. He worked on the painting from 13 April until the beginning of May, when it was mostly done except for minor changes that he made with a small brush later the same year.Van Gogh said he wanted to depict peasants as they really were. He deliberately chose coarse and ugly models, thinking that they would be natural and unspoiled in his finished work.Writing to his sister Willemina two years later in Paris, Van Gogh still considered The Potato Eaters his most successful painting: "What I think about my own work is that the painting of the peasants eating potatoes that I did in Nuenen is after all the best thing I did". However, the work was criticized by his friend Anthon van Rappard soon after it was painted. This was a blow to Van Gogh's confidence as an emerging artist, and he wrote back to his friend, "you... had no right to condemn my work in the way you did" (July 1885), and later, "I am always doing what I can't do yet in order to learn how to do it." (August 1885).Vincent Van Gogh is known to have admired the Belgian painter Charles de Groux and in particular his work The blessing before supper. De Groux's work is a solemn depiction of a peasant family saying grace before supper. The painting was closely linked to Christian representations of the Last Supper. Van Gogh's The Potato Eaters was inspired by this work of de Groux and similar religious connotations can be identified in Van Gogh's work.


じゃがいもを食べる人々

Prompt: じゃがいもを食べる人々に関して、どのように構成が議論されていますか？英語で出力して下さい。

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

During March and the beginning of April 1885, Van Gogh sketched studies for the painting and corresponded with his brother Theo, who was not impressed with his current work nor the sketches Van Gogh sent him in Paris. He began working on The Potato Eaters while living with his parents in Nuenen, a rural town which was home to many farmers, labourers and weavers. He worked on the painting from 13 April until the beginning of May, when it was mostly done except for minor changes that he made with a small brush later the same year.Van Gogh said he wanted to depict peasants as they really were. He deliberately chose coarse and ugly models, thinking that they would be natural and unspoiled in his finished work.Writing to his sister Willemina two years later in Paris, Van Gogh still considered The Potato Eaters his most successful painting: "What I think about my own work is that the painting of the peasants eating potatoes that I did in Nuenen is after all the best thing I did". However, the work was criticized by his friend Anthon van Rappard soon after it was painted. This was a blow to Van Gogh's confidence as an emerging artist, and he wrote back to his friend, "you... had no right to condemn my work in the way you did" (July 1885), and later, "I am always doing what I can't do yet in order to learn how to do it." (August 1885).Vincent Van Gogh is known to have admired the Belgian painter Charles de Groux and in particular his work The blessing before supper. De Groux's work is a solemn depiction of a peasant family saying grace before supper. The painting was closely linked to Christian representations of the Last Supper. Van Gogh's The Potato Eaters was inspired by this work of de Groux and similar religious connotations can be identified in Van Gogh's work.


じゃがいもを食べる人々

Prompt: じゃがいもを食べる人々に焦点を当てて、そのリトグラフを説明してください。英語で出力して下さい。

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

Van Gogh made a lithograph of the composition The Potato Eaters before embarking on the painting proper. He sent impressions to his brother and, in a letter to a friend, wrote that he made the lithograph from memory in the space of a day.Van Gogh had first experimented with lithography in The Hague in 1882. Though he appreciated small scale graphic work and was an enthusiastic collector of English engravings he worked relatively little in graphic mediums. In a letter dated around 3 December 1882 he remarksI believe, though, that it would be a great mistake to imagine that such things as, for instance, the print The Grace  (a family of woodcutters or peasants at table) were created at a stroke in their final form. No, in most cases the solidity and pith of the small is only obtained through much more serious study than is imagined by those who think lightly of the task of illustrating ...Anyway, some paintings in their huge frames look very substantial, and later one is surprised when they actually leave behind such an empty and dissatisfied feeling. On the other hand, one overlooks many an unpretentious woodcut or lithograph or etching now and then, but comes back to it and becomes more and more attached to it with time, and senses something great in it.


じゃがいもを食べる人々

Prompt: じゃがいもを食べる人々のリトグラフを説明してください。英語で出力して下さい。

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

Van Gogh made a lithograph of the composition The Potato Eaters before embarking on the painting proper. He sent impressions to his brother and, in a letter to a friend, wrote that he made the lithograph from memory in the space of a day.Van Gogh had first experimented with lithography in The Hague in 1882. Though he appreciated small scale graphic work and was an enthusiastic collector of English engravings he worked relatively little in graphic mediums. In a letter dated around 3 December 1882 he remarksI believe, though, that it would be a great mistake to imagine that such things as, for instance, the print The Grace  (a family of woodcutters or peasants at table) were created at a stroke in their final form. No, in most cases the solidity and pith of the small is only obtained through much more serious study than is imagined by those who think lightly of the task of illustrating ...Anyway, some paintings in their huge frames look very substantial, and later one is surprised when they actually leave behind such an empty and dissatisfied feeling. On the other hand, one overlooks many an unpretentious woodcut or lithograph or etching now and then, but comes back to it and becomes more and more attached to it with time, and senses something great in it.


じゃがいもを食べる人々

Prompt: じゃがいもを食べる人々はどのようにリトグラフを説明していますか？英語で出力して下さい。

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

Van Gogh made a lithograph of the composition The Potato Eaters before embarking on the painting proper. He sent impressions to his brother and, in a letter to a friend, wrote that he made the lithograph from memory in the space of a day.Van Gogh had first experimented with lithography in The Hague in 1882. Though he appreciated small scale graphic work and was an enthusiastic collector of English engravings he worked relatively little in graphic mediums. In a letter dated around 3 December 1882 he remarksI believe, though, that it would be a great mistake to imagine that such things as, for instance, the print The Grace  (a family of woodcutters or peasants at table) were created at a stroke in their final form. No, in most cases the solidity and pith of the small is only obtained through much more serious study than is imagined by those who think lightly of the task of illustrating ...Anyway, some paintings in their huge frames look very substantial, and later one is surprised when they actually leave behind such an empty and dissatisfied feeling. On the other hand, one overlooks many an unpretentious woodcut or lithograph or etching now and then, but comes back to it and becomes more and more attached to it with time, and senses something great in it.


じゃがいもを食べる人々

Prompt: じゃがいもを食べる人々に関して、どのようにリトグラフが議論されていますか？英語で出力して下さい。

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

Van Gogh made a lithograph of the composition The Potato Eaters before embarking on the painting proper. He sent impressions to his brother and, in a letter to a friend, wrote that he made the lithograph from memory in the space of a day.Van Gogh had first experimented with lithography in The Hague in 1882. Though he appreciated small scale graphic work and was an enthusiastic collector of English engravings he worked relatively little in graphic mediums. In a letter dated around 3 December 1882 he remarksI believe, though, that it would be a great mistake to imagine that such things as, for instance, the print The Grace  (a family of woodcutters or peasants at table) were created at a stroke in their final form. No, in most cases the solidity and pith of the small is only obtained through much more serious study than is imagined by those who think lightly of the task of illustrating ...Anyway, some paintings in their huge frames look very substantial, and later one is surprised when they actually leave behind such an empty and dissatisfied feeling. On the other hand, one overlooks many an unpretentious woodcut or lithograph or etching now and then, but comes back to it and becomes more and more attached to it with time, and senses something great in it.


じゃがいもを食べる人々

Prompt: じゃがいもを食べる人々に焦点を当てて、そのハーグ派の影響を説明してください。英語で出力して下さい。

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

Van Gogh is often associated in people's minds with the Post-Impressionist movement, but in fact his artistic roots lay much closer to home in the artists of the Hague School such as Anton Mauve and Jozef Israëls.In a letter to his brother Theo written mid-June 1884, Vincent remarks:When I hear you talk about a lot of new names, it's not always possible for me to understand when I've seen absolutely nothing by them. And from what you said about 'Impressionism', I’ve grasped that it's something different from what I thought it was, but it's still not entirely clear to me what one should understand by it.But for my part, I find so tremendously much in Israëls, for instance, that I'm not particularly curious about or eager for something different or newer.Before Vincent painted The Potato Eaters, Israëls had already treated the same subject in his A Peasant Family at the Table and, judging from a comment in a letter to Theo 11 March 1882, Vincent had seen this (or at least a variation of it) and had been inspired to produce his own version of it. Compositionally, the two are very similar: in both paintings the composition of the painting is centered by a figure whose back is turned to the viewer. As well as an interest gained by A Peasant Family at the Table, Vincent had an appreciation for a simpler lifestyle. Vincent was known to disregard the finer things, once writing in a letter to his brother Theo:When I receive money, even if I've fasted, isn't for food, but is even stronger for painting [...] meanwhile the lifeline I cling to is my breakfast with the people where I live, and a cup of coffee and bread in the cremerie in the evening...Van Gogh seemed to emotionally identify with the middle class, although he was from a family who were quite well-off. The subject was that of the harsh reality of life in the working class. He also simply admired the sustainability of the potato, or aardappel in Dutch. Aardappel literally translates to "earth apple," which paints an idea of a simpler, hearty lifestyle.


じゃがいもを食べる人々

Prompt: じゃがいもを食べる人々のハーグ派の影響を説明してください。英語で出力して下さい。

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

Van Gogh is often associated in people's minds with the Post-Impressionist movement, but in fact his artistic roots lay much closer to home in the artists of the Hague School such as Anton Mauve and Jozef Israëls.In a letter to his brother Theo written mid-June 1884, Vincent remarks:When I hear you talk about a lot of new names, it's not always possible for me to understand when I've seen absolutely nothing by them. And from what you said about 'Impressionism', I’ve grasped that it's something different from what I thought it was, but it's still not entirely clear to me what one should understand by it.But for my part, I find so tremendously much in Israëls, for instance, that I'm not particularly curious about or eager for something different or newer.Before Vincent painted The Potato Eaters, Israëls had already treated the same subject in his A Peasant Family at the Table and, judging from a comment in a letter to Theo 11 March 1882, Vincent had seen this (or at least a variation of it) and had been inspired to produce his own version of it. Compositionally, the two are very similar: in both paintings the composition of the painting is centered by a figure whose back is turned to the viewer. As well as an interest gained by A Peasant Family at the Table, Vincent had an appreciation for a simpler lifestyle. Vincent was known to disregard the finer things, once writing in a letter to his brother Theo:When I receive money, even if I've fasted, isn't for food, but is even stronger for painting [...] meanwhile the lifeline I cling to is my breakfast with the people where I live, and a cup of coffee and bread in the cremerie in the evening...Van Gogh seemed to emotionally identify with the middle class, although he was from a family who were quite well-off. The subject was that of the harsh reality of life in the working class. He also simply admired the sustainability of the potato, or aardappel in Dutch. Aardappel literally translates to "earth apple," which paints an idea of a simpler, hearty lifestyle.


じゃがいもを食べる人々

Prompt: じゃがいもを食べる人々はどのようにハーグ派の影響を説明していますか？英語で出力して下さい。

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

Van Gogh is often associated in people's minds with the Post-Impressionist movement, but in fact his artistic roots lay much closer to home in the artists of the Hague School such as Anton Mauve and Jozef Israëls.In a letter to his brother Theo written mid-June 1884, Vincent remarks:When I hear you talk about a lot of new names, it's not always possible for me to understand when I've seen absolutely nothing by them. And from what you said about 'Impressionism', I’ve grasped that it's something different from what I thought it was, but it's still not entirely clear to me what one should understand by it.But for my part, I find so tremendously much in Israëls, for instance, that I'm not particularly curious about or eager for something different or newer.Before Vincent painted The Potato Eaters, Israëls had already treated the same subject in his A Peasant Family at the Table and, judging from a comment in a letter to Theo 11 March 1882, Vincent had seen this (or at least a variation of it) and had been inspired to produce his own version of it. Compositionally, the two are very similar: in both paintings the composition of the painting is centered by a figure whose back is turned to the viewer. As well as an interest gained by A Peasant Family at the Table, Vincent had an appreciation for a simpler lifestyle. Vincent was known to disregard the finer things, once writing in a letter to his brother Theo:When I receive money, even if I've fasted, isn't for food, but is even stronger for painting [...] meanwhile the lifeline I cling to is my breakfast with the people where I live, and a cup of coffee and bread in the cremerie in the evening...Van Gogh seemed to emotionally identify with the middle class, although he was from a family who were quite well-off. The subject was that of the harsh reality of life in the working class. He also simply admired the sustainability of the potato, or aardappel in Dutch. Aardappel literally translates to "earth apple," which paints an idea of a simpler, hearty lifestyle.


じゃがいもを食べる人々

Prompt: じゃがいもを食べる人々に関して、どのようにハーグ派の影響が議論されていますか？英語で出力して下さい。

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

Van Gogh is often associated in people's minds with the Post-Impressionist movement, but in fact his artistic roots lay much closer to home in the artists of the Hague School such as Anton Mauve and Jozef Israëls.In a letter to his brother Theo written mid-June 1884, Vincent remarks:When I hear you talk about a lot of new names, it's not always possible for me to understand when I've seen absolutely nothing by them. And from what you said about 'Impressionism', I’ve grasped that it's something different from what I thought it was, but it's still not entirely clear to me what one should understand by it.But for my part, I find so tremendously much in Israëls, for instance, that I'm not particularly curious about or eager for something different or newer.Before Vincent painted The Potato Eaters, Israëls had already treated the same subject in his A Peasant Family at the Table and, judging from a comment in a letter to Theo 11 March 1882, Vincent had seen this (or at least a variation of it) and had been inspired to produce his own version of it. Compositionally, the two are very similar: in both paintings the composition of the painting is centered by a figure whose back is turned to the viewer. As well as an interest gained by A Peasant Family at the Table, Vincent had an appreciation for a simpler lifestyle. Vincent was known to disregard the finer things, once writing in a letter to his brother Theo:When I receive money, even if I've fasted, isn't for food, but is even stronger for painting [...] meanwhile the lifeline I cling to is my breakfast with the people where I live, and a cup of coffee and bread in the cremerie in the evening...Van Gogh seemed to emotionally identify with the middle class, although he was from a family who were quite well-off. The subject was that of the harsh reality of life in the working class. He also simply admired the sustainability of the potato, or aardappel in Dutch. Aardappel literally translates to "earth apple," which paints an idea of a simpler, hearty lifestyle.


じゃがいもを食べる人々

Prompt: じゃがいもを食べる人々に焦点を当てて、その盗難を説明してください。英語で出力して下さい。

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

Thieves stole the early version of The Potato Eaters, the Weaver's Interior, and Dried Sunflowers from the Kröller-Müller Museum in December 1988. In April 1989, the thieves returned Weaver's Interior in an attempt to gain a $2.5 million ransom. The police recovered the other two on 14 July 1989; no ransom was paid.On 14 April 1991, the Vincent van Gogh National Museum was robbed of twenty major paintings including the final version of The Potato Eaters. However, the getaway car suffered a blown tire, and the thieves were forced to flee, leaving the paintings behind. Thirty-five minutes after the robbery, the paintings were recovered.


じゃがいもを食べる人々

Prompt: じゃがいもを食べる人々の盗難を説明してください。英語で出力して下さい。

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

Thieves stole the early version of The Potato Eaters, the Weaver's Interior, and Dried Sunflowers from the Kröller-Müller Museum in December 1988. In April 1989, the thieves returned Weaver's Interior in an attempt to gain a $2.5 million ransom. The police recovered the other two on 14 July 1989; no ransom was paid.On 14 April 1991, the Vincent van Gogh National Museum was robbed of twenty major paintings including the final version of The Potato Eaters. However, the getaway car suffered a blown tire, and the thieves were forced to flee, leaving the paintings behind. Thirty-five minutes after the robbery, the paintings were recovered.


じゃがいもを食べる人々

Prompt: じゃがいもを食べる人々はどのように盗難を説明していますか？英語で出力して下さい。

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

Thieves stole the early version of The Potato Eaters, the Weaver's Interior, and Dried Sunflowers from the Kröller-Müller Museum in December 1988. In April 1989, the thieves returned Weaver's Interior in an attempt to gain a $2.5 million ransom. The police recovered the other two on 14 July 1989; no ransom was paid.On 14 April 1991, the Vincent van Gogh National Museum was robbed of twenty major paintings including the final version of The Potato Eaters. However, the getaway car suffered a blown tire, and the thieves were forced to flee, leaving the paintings behind. Thirty-five minutes after the robbery, the paintings were recovered.


じゃがいもを食べる人々

Prompt: じゃがいもを食べる人々に関して、どのように盗難が議論されていますか？英語で出力して下さい。

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

Thieves stole the early version of The Potato Eaters, the Weaver's Interior, and Dried Sunflowers from the Kröller-Müller Museum in December 1988. In April 1989, the thieves returned Weaver's Interior in an attempt to gain a $2.5 million ransom. The police recovered the other two on 14 July 1989; no ransom was paid.On 14 April 1991, the Vincent van Gogh National Museum was robbed of twenty major paintings including the final version of The Potato Eaters. However, the getaway car suffered a blown tire, and the thieves were forced to flee, leaving the paintings behind. Thirty-five minutes after the robbery, the paintings were recovered.


アデーレ・ブロッホ＝バウアーの肖像 I

Prompt: アデーレ・ブロッホ＝バウアーの肖像 Iに焦点を当てて、そのabstractを説明してください。英語で出力して下さい。

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''

Portrait of Adele Bloch-Bauer I (also called The Lady in Gold or The Woman in Gold) is an oil painting on canvas, with gold leaf, by Gustav Klimt, completed between 1903 and 1907. The portrait was commissioned by the sitter's husband, Ferdinand Bloch-Bauer, a Viennese and Jewish banker and sugar producer. The painting was stolen by the Nazis in 1941 and displayed at the Österreichische Galerie Belvedere. The portrait is the final and most fully representative work of Klimt's golden phase. It was the first of two depictions of Adele by Klimt—the second was completed in 1912; these were two of several works by the artist that the family owned.Adele died in 1925; her will asked that the artworks by Klimt be eventually left to the Galerie Belvedere, although these works belonged to Ferdinand, not her. Following the Anschluss of Austria by Nazi Germany, and due to the Nazi persecution of Jews, Ferdinand fled Vienna, and made his way to Switzerland, leaving behind much of his wealth, including his large art collection. The painting was stolen by the Nazis in 1941, along with the remainder of Ferdinand's assets, after a false charge of tax evasion was made against him. The lawyer acting on behalf of the German state gave the portrait to the Galerie Belvedere, claiming he was following the wishes Adele had made in her will. Ferdinand died in 1945; his will stated that his estate should go to his nephew and two nieces.In 1998 the Austrian investigative journalist Hubertus Czernin established that the Galerie Belvedere contained several works stolen from Jewish owners in the war and that the gallery had refused to return the art to their original owners or to acknowledge a theft had taken place. One of Ferdinand's nieces, Maria Altmann, hired the lawyer E. Randol Schoenberg to make a claim against the gallery for the return of five works by Klimt. In 2006 after a seven-year legal claim, which included a hearing in front of the Supreme Court of the United States, an arbitration committee in Vienna agreed that the painting, and others, had been stolen from the family and that it should be returned to Altmann. She sold it the same year for $135 million, at the time a record price for a painting to the businessman and art collector Ronald Lauder to place the work in the Neue Galerie, the public New York–based gallery he co-founded.


アデーレ・ブロッホ＝バウアーの肖像 I

Prompt: アデーレ・ブロッホ＝バウアーの肖像 Iのabstractを説明してください。英語で出力して下さい。

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''

Portrait of Adele Bloch-Bauer I (also called The Lady in Gold or The Woman in Gold) is an oil painting on canvas, with gold leaf, by Gustav Klimt, completed between 1903 and 1907. The portrait was commissioned by the sitter's husband, Ferdinand Bloch-Bauer, a Viennese and Jewish banker and sugar producer. The painting was stolen by the Nazis in 1941 and displayed at the Österreichische Galerie Belvedere. The portrait is the final and most fully representative work of Klimt's golden phase. It was the first of two depictions of Adele by Klimt—the second was completed in 1912; these were two of several works by the artist that the family owned.Adele died in 1925; her will asked that the artworks by Klimt be eventually left to the Galerie Belvedere, although these works belonged to Ferdinand, not her. Following the Anschluss of Austria by Nazi Germany, and due to the Nazi persecution of Jews, Ferdinand fled Vienna, and made his way to Switzerland, leaving behind much of his wealth, including his large art collection. The painting was stolen by the Nazis in 1941, along with the remainder of Ferdinand's assets, after a false charge of tax evasion was made against him. The lawyer acting on behalf of the German state gave the portrait to the Galerie Belvedere, claiming he was following the wishes Adele had made in her will. Ferdinand died in 1945; his will stated that his estate should go to his nephew and two nieces.In 1998 the Austrian investigative journalist Hubertus Czernin established that the Galerie Belvedere contained several works stolen from Jewish owners in the war and that the gallery had refused to return the art to their original owners or to acknowledge a theft had taken place. One of Ferdinand's nieces, Maria Altmann, hired the lawyer E. Randol Schoenberg to make a claim against the gallery for the return of five works by Klimt. In 2006 after a seven-year legal claim, which included a hearing in front of the Supreme Court of the United States, an arbitration committee in Vienna agreed that the painting, and others, had been stolen from the family and that it should be returned to Altmann. She sold it the same year for $135 million, at the time a record price for a painting to the businessman and art collector Ronald Lauder to place the work in the Neue Galerie, the public New York–based gallery he co-founded.


アデーレ・ブロッホ＝バウアーの肖像 I

Prompt: アデーレ・ブロッホ＝バウアーの肖像 Iはどのようにabstractを説明していますか？英語で出力して下さい。

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''

Portrait of Adele Bloch-Bauer I (also called The Lady in Gold or The Woman in Gold) is an oil painting on canvas, with gold leaf, by Gustav Klimt, completed between 1903 and 1907. The portrait was commissioned by the sitter's husband, Ferdinand Bloch-Bauer, a Viennese and Jewish banker and sugar producer. The painting was stolen by the Nazis in 1941 and displayed at the Österreichische Galerie Belvedere. The portrait is the final and most fully representative work of Klimt's golden phase. It was the first of two depictions of Adele by Klimt—the second was completed in 1912; these were two of several works by the artist that the family owned.Adele died in 1925; her will asked that the artworks by Klimt be eventually left to the Galerie Belvedere, although these works belonged to Ferdinand, not her. Following the Anschluss of Austria by Nazi Germany, and due to the Nazi persecution of Jews, Ferdinand fled Vienna, and made his way to Switzerland, leaving behind much of his wealth, including his large art collection. The painting was stolen by the Nazis in 1941, along with the remainder of Ferdinand's assets, after a false charge of tax evasion was made against him. The lawyer acting on behalf of the German state gave the portrait to the Galerie Belvedere, claiming he was following the wishes Adele had made in her will. Ferdinand died in 1945; his will stated that his estate should go to his nephew and two nieces.In 1998 the Austrian investigative journalist Hubertus Czernin established that the Galerie Belvedere contained several works stolen from Jewish owners in the war and that the gallery had refused to return the art to their original owners or to acknowledge a theft had taken place. One of Ferdinand's nieces, Maria Altmann, hired the lawyer E. Randol Schoenberg to make a claim against the gallery for the return of five works by Klimt. In 2006 after a seven-year legal claim, which included a hearing in front of the Supreme Court of the United States, an arbitration committee in Vienna agreed that the painting, and others, had been stolen from the family and that it should be returned to Altmann. She sold it the same year for $135 million, at the time a record price for a painting to the businessman and art collector Ronald Lauder to place the work in the Neue Galerie, the public New York–based gallery he co-founded.


アデーレ・ブロッホ＝バウアーの肖像 I

Prompt: アデーレ・ブロッホ＝バウアーの肖像 Iに関して、どのようにabstractが議論されていますか？英語で出力して下さい。

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''

Portrait of Adele Bloch-Bauer I (also called The Lady in Gold or The Woman in Gold) is an oil painting on canvas, with gold leaf, by Gustav Klimt, completed between 1903 and 1907. The portrait was commissioned by the sitter's husband, Ferdinand Bloch-Bauer, a Viennese and Jewish banker and sugar producer. The painting was stolen by the Nazis in 1941 and displayed at the Österreichische Galerie Belvedere. The portrait is the final and most fully representative work of Klimt's golden phase. It was the first of two depictions of Adele by Klimt—the second was completed in 1912; these were two of several works by the artist that the family owned.Adele died in 1925; her will asked that the artworks by Klimt be eventually left to the Galerie Belvedere, although these works belonged to Ferdinand, not her. Following the Anschluss of Austria by Nazi Germany, and due to the Nazi persecution of Jews, Ferdinand fled Vienna, and made his way to Switzerland, leaving behind much of his wealth, including his large art collection. The painting was stolen by the Nazis in 1941, along with the remainder of Ferdinand's assets, after a false charge of tax evasion was made against him. The lawyer acting on behalf of the German state gave the portrait to the Galerie Belvedere, claiming he was following the wishes Adele had made in her will. Ferdinand died in 1945; his will stated that his estate should go to his nephew and two nieces.In 1998 the Austrian investigative journalist Hubertus Czernin established that the Galerie Belvedere contained several works stolen from Jewish owners in the war and that the gallery had refused to return the art to their original owners or to acknowledge a theft had taken place. One of Ferdinand's nieces, Maria Altmann, hired the lawyer E. Randol Schoenberg to make a claim against the gallery for the return of five works by Klimt. In 2006 after a seven-year legal claim, which included a hearing in front of the Supreme Court of the United States, an arbitration committee in Vienna agreed that the painting, and others, had been stolen from the family and that it should be returned to Altmann. She sold it the same year for $135 million, at the time a record price for a painting to the businessman and art collector Ronald Lauder to place the work in the Neue Galerie, the public New York–based gallery he co-founded.


アデーレ・ブロッホ＝バウアーの肖像 I

Prompt: アデーレ・ブロッホ＝バウアーの肖像 Iの文脈で、グスタフ・クリムトと背景を説明してください。英語で出力して下さい。

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''

Gustav Klimt was born in 1862 in Baumgarten, near Vienna in Austria-Hungary. He attended the Vienna School of Arts and Crafts (German: Kunstgewerbeschule Wien) before taking on commissions with his brother, Ernst, and a fellow-student Franz von Matsch from 1879. Over the next decade, alongside several private commissions for portraiture, they painted interior murals and ceilings in large public buildings, including the Burgtheater, the Kunsthistorisches Museum and the ceiling of the Great Hall at the University of Vienna.Klimt worked in Vienna during the Belle Époque, during which time the city made "an extreme and lasting contribution to the history of modern art". During the 1890s he was influenced by European avant-garde art, including the works of the painters Fernand Khnopff, Jan Toorop and Aubrey Beardsley. In 1897 he was a founding member and president of the Vienna Secession, a group of artists who wanted to break with what they saw as the prevailing conservatism of the Viennese Künstlerhaus. Klimt in particular challenged what he saw as the "hypocritical boundaries of respectability set by Viennese society"; according to the art historian Susanna Partsch, he was "the enfant terrible of the Viennese art scene, [and] was acknowledged to be the painter of beautiful women". By 1900 he was the preferred portrait painter of the wives of the largely Jewish Viennese bourgeoisie, an emerging class of self-made industrialists who were "buying the innovative new art that state museums rejected", according to the journalist Anne-Marie O'Connor.From 1898 Klimt began to experiment with the style in what became known as his Byzantine or Golden period, when his works, stylistically influenced by Art Nouveau and the Arts and Crafts movement, were gilded with gold leaf. Klimt had begun using gold in his 1890 portrait of the pianist Joseph Pembauer, but his first work that included a golden theme was Pallas Athene (1898). The art historian Gilles Néret considers that the use of gold in the painting "underlines the essential erotic ingredient in ... [Klimt's] view of the world". Néret also states that Klimt used the gold to give subjects a sacred or magical quality.


アデーレ・ブロッホ＝バウアーの肖像 I

Prompt: アデーレ・ブロッホ＝バウアーの肖像 Iの背景に関するグスタフ・クリムトを説明してください。英語で出力して下さい。

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''

Gustav Klimt was born in 1862 in Baumgarten, near Vienna in Austria-Hungary. He attended the Vienna School of Arts and Crafts (German: Kunstgewerbeschule Wien) before taking on commissions with his brother, Ernst, and a fellow-student Franz von Matsch from 1879. Over the next decade, alongside several private commissions for portraiture, they painted interior murals and ceilings in large public buildings, including the Burgtheater, the Kunsthistorisches Museum and the ceiling of the Great Hall at the University of Vienna.Klimt worked in Vienna during the Belle Époque, during which time the city made "an extreme and lasting contribution to the history of modern art". During the 1890s he was influenced by European avant-garde art, including the works of the painters Fernand Khnopff, Jan Toorop and Aubrey Beardsley. In 1897 he was a founding member and president of the Vienna Secession, a group of artists who wanted to break with what they saw as the prevailing conservatism of the Viennese Künstlerhaus. Klimt in particular challenged what he saw as the "hypocritical boundaries of respectability set by Viennese society"; according to the art historian Susanna Partsch, he was "the enfant terrible of the Viennese art scene, [and] was acknowledged to be the painter of beautiful women". By 1900 he was the preferred portrait painter of the wives of the largely Jewish Viennese bourgeoisie, an emerging class of self-made industrialists who were "buying the innovative new art that state museums rejected", according to the journalist Anne-Marie O'Connor.From 1898 Klimt began to experiment with the style in what became known as his Byzantine or Golden period, when his works, stylistically influenced by Art Nouveau and the Arts and Crafts movement, were gilded with gold leaf. Klimt had begun using gold in his 1890 portrait of the pianist Joseph Pembauer, but his first work that included a golden theme was Pallas Athene (1898). The art historian Gilles Néret considers that the use of gold in the painting "underlines the essential erotic ingredient in ... [Klimt's] view of the world". Néret also states that Klimt used the gold to give subjects a sacred or magical quality.


アデーレ・ブロッホ＝バウアーの肖像 I

Prompt: アデーレ・ブロッホ＝バウアーの肖像 Iでは、どのように背景のグスタフ・クリムトが説明されていますか？英語で出力して下さい。

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''

Gustav Klimt was born in 1862 in Baumgarten, near Vienna in Austria-Hungary. He attended the Vienna School of Arts and Crafts (German: Kunstgewerbeschule Wien) before taking on commissions with his brother, Ernst, and a fellow-student Franz von Matsch from 1879. Over the next decade, alongside several private commissions for portraiture, they painted interior murals and ceilings in large public buildings, including the Burgtheater, the Kunsthistorisches Museum and the ceiling of the Great Hall at the University of Vienna.Klimt worked in Vienna during the Belle Époque, during which time the city made "an extreme and lasting contribution to the history of modern art". During the 1890s he was influenced by European avant-garde art, including the works of the painters Fernand Khnopff, Jan Toorop and Aubrey Beardsley. In 1897 he was a founding member and president of the Vienna Secession, a group of artists who wanted to break with what they saw as the prevailing conservatism of the Viennese Künstlerhaus. Klimt in particular challenged what he saw as the "hypocritical boundaries of respectability set by Viennese society"; according to the art historian Susanna Partsch, he was "the enfant terrible of the Viennese art scene, [and] was acknowledged to be the painter of beautiful women". By 1900 he was the preferred portrait painter of the wives of the largely Jewish Viennese bourgeoisie, an emerging class of self-made industrialists who were "buying the innovative new art that state museums rejected", according to the journalist Anne-Marie O'Connor.From 1898 Klimt began to experiment with the style in what became known as his Byzantine or Golden period, when his works, stylistically influenced by Art Nouveau and the Arts and Crafts movement, were gilded with gold leaf. Klimt had begun using gold in his 1890 portrait of the pianist Joseph Pembauer, but his first work that included a golden theme was Pallas Athene (1898). The art historian Gilles Néret considers that the use of gold in the painting "underlines the essential erotic ingredient in ... [Klimt's] view of the world". Néret also states that Klimt used the gold to give subjects a sacred or magical quality.


アデーレ・ブロッホ＝バウアーの肖像 I

Prompt: アデーレ・ブロッホ＝バウアーの肖像 Iの背景におけるグスタフ・クリムトの特徴を説明してください。英語で出力して下さい。

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''

Gustav Klimt was born in 1862 in Baumgarten, near Vienna in Austria-Hungary. He attended the Vienna School of Arts and Crafts (German: Kunstgewerbeschule Wien) before taking on commissions with his brother, Ernst, and a fellow-student Franz von Matsch from 1879. Over the next decade, alongside several private commissions for portraiture, they painted interior murals and ceilings in large public buildings, including the Burgtheater, the Kunsthistorisches Museum and the ceiling of the Great Hall at the University of Vienna.Klimt worked in Vienna during the Belle Époque, during which time the city made "an extreme and lasting contribution to the history of modern art". During the 1890s he was influenced by European avant-garde art, including the works of the painters Fernand Khnopff, Jan Toorop and Aubrey Beardsley. In 1897 he was a founding member and president of the Vienna Secession, a group of artists who wanted to break with what they saw as the prevailing conservatism of the Viennese Künstlerhaus. Klimt in particular challenged what he saw as the "hypocritical boundaries of respectability set by Viennese society"; according to the art historian Susanna Partsch, he was "the enfant terrible of the Viennese art scene, [and] was acknowledged to be the painter of beautiful women". By 1900 he was the preferred portrait painter of the wives of the largely Jewish Viennese bourgeoisie, an emerging class of self-made industrialists who were "buying the innovative new art that state museums rejected", according to the journalist Anne-Marie O'Connor.From 1898 Klimt began to experiment with the style in what became known as his Byzantine or Golden period, when his works, stylistically influenced by Art Nouveau and the Arts and Crafts movement, were gilded with gold leaf. Klimt had begun using gold in his 1890 portrait of the pianist Joseph Pembauer, but his first work that included a golden theme was Pallas Athene (1898). The art historian Gilles Néret considers that the use of gold in the painting "underlines the essential erotic ingredient in ... [Klimt's] view of the world". Néret also states that Klimt used the gold to give subjects a sacred or magical quality.


アデーレ・ブロッホ＝バウアーの肖像 I

フェルディナンドとアデレ・ブロッホ＝バウアー

Prompt: アデーレ・ブロッホ＝バウアーの肖像 Iの文脈で、フェルディナンドとアデレ・ブロッホ＝バウアーと背景を説明してください。英語で出力して下さい。

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''

Adele Bauer was from a wealthy Jewish Viennese family. Her father was a director of the Wiener Bankverein, the seventh largest bank in Austria-Hungary, and the general director of the Oriental Railway. In the late 1890s Adele met Klimt, and may have begun a relationship with him. Opinion is divided on whether Adele and Klimt had an affair. The artist Catherine Dean considered that Adele was "the only society lady painted by Klimt who is known definitely to be his mistress", while the journalist Melissa Müller and the academic Monica Tatzkow write that "no evidence has ever been produced that their relationship was more than a friendship". The author Frank Whitford observes that some of the preliminary sketches that Klimt made for The Kiss showed a bearded figure which was possibly a self-portrait; the female partner is described by Whitford as an "idealised portrait of Adele". Whitford writes that the only evidence put forward to support the theory is the position of the woman's right hand, as Adele had a disfigured finger following a childhood accident.Adele's parents arranged a marriage with Ferdinand Bloch, a banker and sugar manufacturer; Adele's older sister had previously married Ferdinand's older brother. Ferdinand was older than his fiancée and at the time of the marriage in December 1899, she was 18 and he was 35. The couple, who had no children, both changed their surnames to Bloch-Bauer. Socially well-connected, Adele brought together writers, politicians and intellectuals for regular salons at their home.The couple shared a love of art and patronised several artists, collecting primarily nineteenth-century Viennese paintings and modern sculpture. Ferdinand also had a passion for neoclassical porcelain, and by 1934 his collection was over 400 pieces and one of the finest in the world.In 1901 Klimt painted Judith and the Head of Holofernes; the art historian Gottfried Fliedl observes that the painting is "widely known and interpreted as Salome". Adele was the model for the work and wore a heavily jewelled deep choker given to her by Ferdinand, in what Whitford describes as "Klimt's most erotic painting". Whitford also writes that the painting displays "apparent evidence of ... cuckoldry". In 1903 Ferdinand purchased his first Klimt work from the artist, Buchenwald (Beech Forest).