天秤を持つ女性

Prompt: 天秤を持つ女性に関して、どのように歴史が議論されていますか？英語で出力して下さい。

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer

Completed in 1662 or 1663, the painting was previously called Woman Weighing Gold before microscopic evaluation confirms that the balance in her hands is empty. The painting was among the large collection of Vermeer works sold on May 16, 1696, in Amsterdam from the estate of Jacob Dissius (1653–1695). It received 155 guilders, considerably above the prices fetched at the time for his Girl Asleep at a Table (62) and The Officer and the Laughing Girl (approximately 44), but somewhat below The Milkmaid (177).


天秤を持つ女性

Prompt: 天秤を持つ女性に焦点を当てて、その絵画材料を説明してください。英語で出力して下さい。

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer

The first pigment analysis of this painting by Hermann Kühn revealed the use of ultramarine for the blue tablecloth and lead white for the grey wall. The pigment in the bright yellow curtain was identified as Indian yellow. The subsequent technical investigations of the painting by Robert L. Feller (1974) and M.E. Gifford (1994) have shown that the painting had been extended by approximately five centimetres on every side at a much later date. The sample investigated by H. Kühn in 1968 was unfortunately taken from this extension. The proper pigment of the yellow curtain is lead-tin-yellow. The full pigment analysis according to the latest data is illustrated at Colourlex.


天秤を持つ女性

Prompt: 天秤を持つ女性の絵画材料を説明してください。英語で出力して下さい。

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer

The first pigment analysis of this painting by Hermann Kühn revealed the use of ultramarine for the blue tablecloth and lead white for the grey wall. The pigment in the bright yellow curtain was identified as Indian yellow. The subsequent technical investigations of the painting by Robert L. Feller (1974) and M.E. Gifford (1994) have shown that the painting had been extended by approximately five centimetres on every side at a much later date. The sample investigated by H. Kühn in 1968 was unfortunately taken from this extension. The proper pigment of the yellow curtain is lead-tin-yellow. The full pigment analysis according to the latest data is illustrated at Colourlex.


天秤を持つ女性

Prompt: 天秤を持つ女性はどのように絵画材料を説明していますか？英語で出力して下さい。

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer

The first pigment analysis of this painting by Hermann Kühn revealed the use of ultramarine for the blue tablecloth and lead white for the grey wall. The pigment in the bright yellow curtain was identified as Indian yellow. The subsequent technical investigations of the painting by Robert L. Feller (1974) and M.E. Gifford (1994) have shown that the painting had been extended by approximately five centimetres on every side at a much later date. The sample investigated by H. Kühn in 1968 was unfortunately taken from this extension. The proper pigment of the yellow curtain is lead-tin-yellow. The full pigment analysis according to the latest data is illustrated at Colourlex.


天秤を持つ女性

Prompt: 天秤を持つ女性に関して、どのように絵画材料が議論されていますか？英語で出力して下さい。

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer

The first pigment analysis of this painting by Hermann Kühn revealed the use of ultramarine for the blue tablecloth and lead white for the grey wall. The pigment in the bright yellow curtain was identified as Indian yellow. The subsequent technical investigations of the painting by Robert L. Feller (1974) and M.E. Gifford (1994) have shown that the painting had been extended by approximately five centimetres on every side at a much later date. The sample investigated by H. Kühn in 1968 was unfortunately taken from this extension. The proper pigment of the yellow curtain is lead-tin-yellow. The full pigment analysis according to the latest data is illustrated at Colourlex.


キングファハドの噴水

Prompt: キングファハドの噴水に焦点を当てて、そのabstractを説明してください。英語で出力して下さい。

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

King Fahd's Fountain (Arabic: نافورة الملك فهد), also known as the Jeddah Fountain, is in Jeddah, Saudi Arabia. It is the tallest fountain of its type in the world. It is named after King Fahd bin Abdulaziz, the ruler of Saudi Arabia from 1982 until 2005.


キングファハドの噴水

Prompt: キングファハドの噴水のabstractを説明してください。英語で出力して下さい。

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

King Fahd's Fountain (Arabic: نافورة الملك فهد), also known as the Jeddah Fountain, is in Jeddah, Saudi Arabia. It is the tallest fountain of its type in the world. It is named after King Fahd bin Abdulaziz, the ruler of Saudi Arabia from 1982 until 2005.


キングファハドの噴水

Prompt: キングファハドの噴水はどのようにabstractを説明していますか？英語で出力して下さい。

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

King Fahd's Fountain (Arabic: نافورة الملك فهد), also known as the Jeddah Fountain, is in Jeddah, Saudi Arabia. It is the tallest fountain of its type in the world. It is named after King Fahd bin Abdulaziz, the ruler of Saudi Arabia from 1982 until 2005.


キングファハドの噴水

Prompt: キングファハドの噴水に関して、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。

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

King Fahd's Fountain (Arabic: نافورة الملك فهد), also known as the Jeddah Fountain, is in Jeddah, Saudi Arabia. It is the tallest fountain of its type in the world. It is named after King Fahd bin Abdulaziz, the ruler of Saudi Arabia from 1982 until 2005.


キングファハドの噴水

Prompt: キングファハドの噴水に焦点を当てて、その概要を説明してください。英語で出力して下さい。

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

The fountain was donated to the city of Jeddah by King Fahd, hence its name. It was constructed between 1980 and 1983 and was launched in 1985.Located on the west coast of Saudi Arabia, the fountain jets water to a maximum height of 260 metres (853 ft). The second-tallest is the World Cup Fountain in Seoul, South Korea, with a water height of 202 m (663 ft).King Fahd's Fountain is listed in Guinness World Records as the highest water fountain in the world.The fountain is visible throughout the vicinity of Jeddah. The water ejected can reach a speed of 375 km/h (233 mph) and its airborne mass can exceed 16 tonnes (18 short tons). The fountain uses saltwater taken from the Red Sea instead of freshwater. Over 500 LED spotlights illuminate the fountain at night.


キングファハドの噴水

Prompt: キングファハドの噴水の概要を説明してください。英語で出力して下さい。

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

The fountain was donated to the city of Jeddah by King Fahd, hence its name. It was constructed between 1980 and 1983 and was launched in 1985.Located on the west coast of Saudi Arabia, the fountain jets water to a maximum height of 260 metres (853 ft). The second-tallest is the World Cup Fountain in Seoul, South Korea, with a water height of 202 m (663 ft).King Fahd's Fountain is listed in Guinness World Records as the highest water fountain in the world.The fountain is visible throughout the vicinity of Jeddah. The water ejected can reach a speed of 375 km/h (233 mph) and its airborne mass can exceed 16 tonnes (18 short tons). The fountain uses saltwater taken from the Red Sea instead of freshwater. Over 500 LED spotlights illuminate the fountain at night.


キングファハドの噴水

Prompt: キングファハドの噴水はどのように概要を説明していますか？英語で出力して下さい。

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

The fountain was donated to the city of Jeddah by King Fahd, hence its name. It was constructed between 1980 and 1983 and was launched in 1985.Located on the west coast of Saudi Arabia, the fountain jets water to a maximum height of 260 metres (853 ft). The second-tallest is the World Cup Fountain in Seoul, South Korea, with a water height of 202 m (663 ft).King Fahd's Fountain is listed in Guinness World Records as the highest water fountain in the world.The fountain is visible throughout the vicinity of Jeddah. The water ejected can reach a speed of 375 km/h (233 mph) and its airborne mass can exceed 16 tonnes (18 short tons). The fountain uses saltwater taken from the Red Sea instead of freshwater. Over 500 LED spotlights illuminate the fountain at night.


キングファハドの噴水

Prompt: キングファハドの噴水に関して、どのように概要が議論されていますか？英語で出力して下さい。

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

The fountain was donated to the city of Jeddah by King Fahd, hence its name. It was constructed between 1980 and 1983 and was launched in 1985.Located on the west coast of Saudi Arabia, the fountain jets water to a maximum height of 260 metres (853 ft). The second-tallest is the World Cup Fountain in Seoul, South Korea, with a water height of 202 m (663 ft).King Fahd's Fountain is listed in Guinness World Records as the highest water fountain in the world.The fountain is visible throughout the vicinity of Jeddah. The water ejected can reach a speed of 375 km/h (233 mph) and its airborne mass can exceed 16 tonnes (18 short tons). The fountain uses saltwater taken from the Red Sea instead of freshwater. Over 500 LED spotlights illuminate the fountain at night.


キングファハドの噴水

Prompt: キングファハドの噴水に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

The fountain was initially built between 1980 and 1983, and was inspired by the Geneva Fountain (length 140 meters, pumping speed 124 mph), but the planners were not satisfied with the height. The fountain was then operated in its current form in 1985 to pump sea water at a speed of 233 miles per hour to a height of 312 meters (1024 feet).Team Red Bull Air Force base jumper Othar Lawrence set a global record by making a historic jump along the fountain.


キングファハドの噴水

Prompt: キングファハドの噴水の歴史を説明してください。英語で出力して下さい。

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

The fountain was initially built between 1980 and 1983, and was inspired by the Geneva Fountain (length 140 meters, pumping speed 124 mph), but the planners were not satisfied with the height. The fountain was then operated in its current form in 1985 to pump sea water at a speed of 233 miles per hour to a height of 312 meters (1024 feet).Team Red Bull Air Force base jumper Othar Lawrence set a global record by making a historic jump along the fountain.


キングファハドの噴水

Prompt: キングファハドの噴水はどのように歴史を説明していますか？英語で出力して下さい。

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

The fountain was initially built between 1980 and 1983, and was inspired by the Geneva Fountain (length 140 meters, pumping speed 124 mph), but the planners were not satisfied with the height. The fountain was then operated in its current form in 1985 to pump sea water at a speed of 233 miles per hour to a height of 312 meters (1024 feet).Team Red Bull Air Force base jumper Othar Lawrence set a global record by making a historic jump along the fountain.


キングファハドの噴水

Prompt: キングファハドの噴水に関して、どのように歴史が議論されていますか？英語で出力して下さい。

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

The fountain was initially built between 1980 and 1983, and was inspired by the Geneva Fountain (length 140 meters, pumping speed 124 mph), but the planners were not satisfied with the height. The fountain was then operated in its current form in 1985 to pump sea water at a speed of 233 miles per hour to a height of 312 meters (1024 feet).Team Red Bull Air Force base jumper Othar Lawrence set a global record by making a historic jump along the fountain.


キングファハドの噴水

Prompt: キングファハドの噴水に焦点を当てて、そのデザインを説明してください。英語で出力して下さい。

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

The base of the fountain is in the form of a large mabkhara, an incense burner which symbolizes Arabian culture. Since the fountain pumps sea water, rust and corrosion were the main concerns of those who built it. Before reaching the pump, the water passes through several filters to purify it from dirt, sand and organic matter. The fountain is lit by 500 high-light LEDs.


キングファハドの噴水

Prompt: キングファハドの噴水のデザインを説明してください。英語で出力して下さい。

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

The base of the fountain is in the form of a large mabkhara, an incense burner which symbolizes Arabian culture. Since the fountain pumps sea water, rust and corrosion were the main concerns of those who built it. Before reaching the pump, the water passes through several filters to purify it from dirt, sand and organic matter. The fountain is lit by 500 high-light LEDs.


キングファハドの噴水

Prompt: キングファハドの噴水はどのようにデザインを説明していますか？英語で出力して下さい。

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

The base of the fountain is in the form of a large mabkhara, an incense burner which symbolizes Arabian culture. Since the fountain pumps sea water, rust and corrosion were the main concerns of those who built it. Before reaching the pump, the water passes through several filters to purify it from dirt, sand and organic matter. The fountain is lit by 500 high-light LEDs.


キングファハドの噴水

Prompt: キングファハドの噴水に関して、どのようにデザインが議論されていますか？英語で出力して下さい。

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

The base of the fountain is in the form of a large mabkhara, an incense burner which symbolizes Arabian culture. Since the fountain pumps sea water, rust and corrosion were the main concerns of those who built it. Before reaching the pump, the water passes through several filters to purify it from dirt, sand and organic matter. The fountain is lit by 500 high-light LEDs.


愛と喪失

Prompt: 愛と喪失に焦点を当てて、そのabstractを説明してください。英語で出力して下さい。

Category:2005 establishments in Washington (state)

Love & Loss is an outdoor 2005 mixed-media installation by Roy McMakin, installed at Olympic Sculpture Park in Seattle, Washington.


愛と喪失

Prompt: 愛と喪失のabstractを説明してください。英語で出力して下さい。

Category:2005 establishments in Washington (state)

Love & Loss is an outdoor 2005 mixed-media installation by Roy McMakin, installed at Olympic Sculpture Park in Seattle, Washington.


愛と喪失

Prompt: 愛と喪失はどのようにabstractを説明していますか？英語で出力して下さい。

Category:2005 establishments in Washington (state)

Love & Loss is an outdoor 2005 mixed-media installation by Roy McMakin, installed at Olympic Sculpture Park in Seattle, Washington.


愛と喪失

Prompt: 愛と喪失に関して、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。

Category:2005 establishments in Washington (state)

Love & Loss is an outdoor 2005 mixed-media installation by Roy McMakin, installed at Olympic Sculpture Park in Seattle, Washington.


愛と喪失

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

Category:2005 establishments in Washington (state)

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


愛と喪失

Prompt: 愛と喪失の説明を説明してください。英語で出力して下さい。

Category:2005 establishments in Washington (state)

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


愛と喪失

Prompt: 愛と喪失はどのように説明を説明していますか？英語で出力して下さい。

Category:2005 establishments in Washington (state)

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


愛と喪失

Prompt: 愛と喪失に関して、どのように説明が議論されていますか？英語で出力して下さい。

Category:2005 establishments in Washington (state)

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


愛と喪失

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

Category:2005 establishments in Washington (state)


愛と喪失

Prompt: 愛と喪失の受付を説明してください。英語で出力して下さい。

Category:2005 establishments in Washington (state)


愛と喪失

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

Category:2005 establishments in Washington (state)


愛と喪失

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

Category:2005 establishments in Washington (state)


黒い四角形

Prompt: 黒い四角形に焦点を当てて、そのabstractを説明してください。英語で出力して下さい。

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Black Square (Russian Чёрный квадрат) is a 1915 oil on linen canvas painting by the artist Kazimir Malevich.  The first of four painted versions, the original was completed in 1915 and described by the artist as his breakthrough work and the inception for the launch of his Suprematist art movement (1915–1919).A leading member of the Russian avant-garde, Malevich was born in 1878 in today's Ukraine. In his manifesto for the Suprematist movement Malevich said the paintings were intended as "desperate struggle to free art from the ballast of the objective world" by focusing only on form. He sought to create paintings that all could understand and that would have an emotional impact comparable to religious works. The 1915 Black Square was the turning point in his career and defined the aesthetic he was to follow for the remainder of his career; his other significant paintings include variants such as White on White (1918), Black Circle (c. 1924), and Black Cross (c. 1920–23). Malevich painted three other versions; in 1923, 1929, and between the late 1920s and early 1930s. Each version differs slightly in size and texture.The original painting was first shown at The Last Futurist Exhibition 0,10 in 1915. The last is thought to have been painted during the late 1920s or early 1930s. Malevich described the 1915 painting as the "zero point of painting"; since then, it has had a significant influence on minimalist art.


黒い四角形

Prompt: 黒い四角形のabstractを説明してください。英語で出力して下さい。

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Black Square (Russian Чёрный квадрат) is a 1915 oil on linen canvas painting by the artist Kazimir Malevich.  The first of four painted versions, the original was completed in 1915 and described by the artist as his breakthrough work and the inception for the launch of his Suprematist art movement (1915–1919).A leading member of the Russian avant-garde, Malevich was born in 1878 in today's Ukraine. In his manifesto for the Suprematist movement Malevich said the paintings were intended as "desperate struggle to free art from the ballast of the objective world" by focusing only on form. He sought to create paintings that all could understand and that would have an emotional impact comparable to religious works. The 1915 Black Square was the turning point in his career and defined the aesthetic he was to follow for the remainder of his career; his other significant paintings include variants such as White on White (1918), Black Circle (c. 1924), and Black Cross (c. 1920–23). Malevich painted three other versions; in 1923, 1929, and between the late 1920s and early 1930s. Each version differs slightly in size and texture.The original painting was first shown at The Last Futurist Exhibition 0,10 in 1915. The last is thought to have been painted during the late 1920s or early 1930s. Malevich described the 1915 painting as the "zero point of painting"; since then, it has had a significant influence on minimalist art.


黒い四角形

Prompt: 黒い四角形はどのようにabstractを説明していますか？英語で出力して下さい。

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Black Square (Russian Чёрный квадрат) is a 1915 oil on linen canvas painting by the artist Kazimir Malevich.  The first of four painted versions, the original was completed in 1915 and described by the artist as his breakthrough work and the inception for the launch of his Suprematist art movement (1915–1919).A leading member of the Russian avant-garde, Malevich was born in 1878 in today's Ukraine. In his manifesto for the Suprematist movement Malevich said the paintings were intended as "desperate struggle to free art from the ballast of the objective world" by focusing only on form. He sought to create paintings that all could understand and that would have an emotional impact comparable to religious works. The 1915 Black Square was the turning point in his career and defined the aesthetic he was to follow for the remainder of his career; his other significant paintings include variants such as White on White (1918), Black Circle (c. 1924), and Black Cross (c. 1920–23). Malevich painted three other versions; in 1923, 1929, and between the late 1920s and early 1930s. Each version differs slightly in size and texture.The original painting was first shown at The Last Futurist Exhibition 0,10 in 1915. The last is thought to have been painted during the late 1920s or early 1930s. Malevich described the 1915 painting as the "zero point of painting"; since then, it has had a significant influence on minimalist art.


黒い四角形

Prompt: 黒い四角形に関して、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。

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Black Square (Russian Чёрный квадрат) is a 1915 oil on linen canvas painting by the artist Kazimir Malevich.  The first of four painted versions, the original was completed in 1915 and described by the artist as his breakthrough work and the inception for the launch of his Suprematist art movement (1915–1919).A leading member of the Russian avant-garde, Malevich was born in 1878 in today's Ukraine. In his manifesto for the Suprematist movement Malevich said the paintings were intended as "desperate struggle to free art from the ballast of the objective world" by focusing only on form. He sought to create paintings that all could understand and that would have an emotional impact comparable to religious works. The 1915 Black Square was the turning point in his career and defined the aesthetic he was to follow for the remainder of his career; his other significant paintings include variants such as White on White (1918), Black Circle (c. 1924), and Black Cross (c. 1920–23). Malevich painted three other versions; in 1923, 1929, and between the late 1920s and early 1930s. Each version differs slightly in size and texture.The original painting was first shown at The Last Futurist Exhibition 0,10 in 1915. The last is thought to have been painted during the late 1920s or early 1930s. Malevich described the 1915 painting as the "zero point of painting"; since then, it has had a significant influence on minimalist art.


黒い四角形

Prompt: 黒い四角形に焦点を当てて、その妊娠を説明してください。英語で出力して下さい。

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

A self-taught artist, Kazimir Malevich's early works, created while still a teenager, incorporate the style and motifs of Ukrainian and Russian folk art and Eastern Orthodox icons. In the early 1900s, when he was heavily influenced by late 19th-century Impressionism. He moved from his birthplace of Kyiv to Moscow in 1907, where he came into contact with the leading Russian avant-garde artists such as Natalia Goncharova and Mikhail Larionov. He first used the motif of a black square while working as the stage designer for the premiere of the Cubo-Futuristic opera Victory over the Sun by the painter and composer Mikhail Matyushin's (1861–1934), staged at the Luna Park Theater in Saint Petersburg on 3 December, 1913. Although the opera is ostensibly a comedic farce, the plot satirises the religious dogma and Tsarist autocracy then dominating pre-revolution Russia. Its libretto was written by the poet Velimir Khlebnikov (1885–1922), and follows protagonists seeking to "abolish reason" by capturing the sun and destroying time. The opera ends with a world in darkness, which Khlebnikov intended to represent the a future after the destruction of Russian tradition. These ideas resonated with Malevich's year zero views on the purpose of contemporary Modernist art. Malevich's sketches for the costumes seem largely influenced by Cubism and Futurism. However, a number, including those known today as Futurist Strongman, Grave Digger and A Certain Evil Intender, are in colour but contain distinct black squares and rectangles. During the pivotal scene depicting the death of the sun, black squares appear eight times: on a curtain and the backdrops, and on the coats and hats of the sun's pall bearers. He was immediately aware of the design's potential, wrote pleading letters to Matyushin to retain it when the composer was planning a 1915 performance of the opera. In the letters, Malevich claimed that the square "will have great significance in painting" and is the "embryo of all possibilities; in its development it acquires a terrible strength."


黒い四角形

Prompt: 黒い四角形の妊娠を説明してください。英語で出力して下さい。

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

A self-taught artist, Kazimir Malevich's early works, created while still a teenager, incorporate the style and motifs of Ukrainian and Russian folk art and Eastern Orthodox icons. In the early 1900s, when he was heavily influenced by late 19th-century Impressionism. He moved from his birthplace of Kyiv to Moscow in 1907, where he came into contact with the leading Russian avant-garde artists such as Natalia Goncharova and Mikhail Larionov. He first used the motif of a black square while working as the stage designer for the premiere of the Cubo-Futuristic opera Victory over the Sun by the painter and composer Mikhail Matyushin's (1861–1934), staged at the Luna Park Theater in Saint Petersburg on 3 December, 1913. Although the opera is ostensibly a comedic farce, the plot satirises the religious dogma and Tsarist autocracy then dominating pre-revolution Russia. Its libretto was written by the poet Velimir Khlebnikov (1885–1922), and follows protagonists seeking to "abolish reason" by capturing the sun and destroying time. The opera ends with a world in darkness, which Khlebnikov intended to represent the a future after the destruction of Russian tradition. These ideas resonated with Malevich's year zero views on the purpose of contemporary Modernist art. Malevich's sketches for the costumes seem largely influenced by Cubism and Futurism. However, a number, including those known today as Futurist Strongman, Grave Digger and A Certain Evil Intender, are in colour but contain distinct black squares and rectangles. During the pivotal scene depicting the death of the sun, black squares appear eight times: on a curtain and the backdrops, and on the coats and hats of the sun's pall bearers. He was immediately aware of the design's potential, wrote pleading letters to Matyushin to retain it when the composer was planning a 1915 performance of the opera. In the letters, Malevich claimed that the square "will have great significance in painting" and is the "embryo of all possibilities; in its development it acquires a terrible strength."


黒い四角形

Prompt: 黒い四角形はどのように妊娠を説明していますか？英語で出力して下さい。

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

A self-taught artist, Kazimir Malevich's early works, created while still a teenager, incorporate the style and motifs of Ukrainian and Russian folk art and Eastern Orthodox icons. In the early 1900s, when he was heavily influenced by late 19th-century Impressionism. He moved from his birthplace of Kyiv to Moscow in 1907, where he came into contact with the leading Russian avant-garde artists such as Natalia Goncharova and Mikhail Larionov. He first used the motif of a black square while working as the stage designer for the premiere of the Cubo-Futuristic opera Victory over the Sun by the painter and composer Mikhail Matyushin's (1861–1934), staged at the Luna Park Theater in Saint Petersburg on 3 December, 1913. Although the opera is ostensibly a comedic farce, the plot satirises the religious dogma and Tsarist autocracy then dominating pre-revolution Russia. Its libretto was written by the poet Velimir Khlebnikov (1885–1922), and follows protagonists seeking to "abolish reason" by capturing the sun and destroying time. The opera ends with a world in darkness, which Khlebnikov intended to represent the a future after the destruction of Russian tradition. These ideas resonated with Malevich's year zero views on the purpose of contemporary Modernist art. Malevich's sketches for the costumes seem largely influenced by Cubism and Futurism. However, a number, including those known today as Futurist Strongman, Grave Digger and A Certain Evil Intender, are in colour but contain distinct black squares and rectangles. During the pivotal scene depicting the death of the sun, black squares appear eight times: on a curtain and the backdrops, and on the coats and hats of the sun's pall bearers. He was immediately aware of the design's potential, wrote pleading letters to Matyushin to retain it when the composer was planning a 1915 performance of the opera. In the letters, Malevich claimed that the square "will have great significance in painting" and is the "embryo of all possibilities; in its development it acquires a terrible strength."


黒い四角形

Prompt: 黒い四角形に関して、どのように妊娠が議論されていますか？英語で出力して下さい。

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

A self-taught artist, Kazimir Malevich's early works, created while still a teenager, incorporate the style and motifs of Ukrainian and Russian folk art and Eastern Orthodox icons. In the early 1900s, when he was heavily influenced by late 19th-century Impressionism. He moved from his birthplace of Kyiv to Moscow in 1907, where he came into contact with the leading Russian avant-garde artists such as Natalia Goncharova and Mikhail Larionov. He first used the motif of a black square while working as the stage designer for the premiere of the Cubo-Futuristic opera Victory over the Sun by the painter and composer Mikhail Matyushin's (1861–1934), staged at the Luna Park Theater in Saint Petersburg on 3 December, 1913. Although the opera is ostensibly a comedic farce, the plot satirises the religious dogma and Tsarist autocracy then dominating pre-revolution Russia. Its libretto was written by the poet Velimir Khlebnikov (1885–1922), and follows protagonists seeking to "abolish reason" by capturing the sun and destroying time. The opera ends with a world in darkness, which Khlebnikov intended to represent the a future after the destruction of Russian tradition. These ideas resonated with Malevich's year zero views on the purpose of contemporary Modernist art. Malevich's sketches for the costumes seem largely influenced by Cubism and Futurism. However, a number, including those known today as Futurist Strongman, Grave Digger and A Certain Evil Intender, are in colour but contain distinct black squares and rectangles. During the pivotal scene depicting the death of the sun, black squares appear eight times: on a curtain and the backdrops, and on the coats and hats of the sun's pall bearers. He was immediately aware of the design's potential, wrote pleading letters to Matyushin to retain it when the composer was planning a 1915 performance of the opera. In the letters, Malevich claimed that the square "will have great significance in painting" and is the "embryo of all possibilities; in its development it acquires a terrible strength."


黒い四角形

Prompt: 黒い四角形に焦点を当てて、その構成を説明してください。英語で出力して下さい。

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Malevich created the first version in 1915 using broad strokes of thick black oil paint onto a 79.5cm x 79.5cm  linen canvas. The border and edges were applied with various shades of white and grey paint.Malevich was a prolific and talented self-publicist and has been described as both a "brilliant, grandiose, messianic figure" and a "fanatic pamphleteer". Sensing a breakthrough, he declared the painting as a milestone in both his oeuvre and "in the history of art". He later wrote that he was so excited at the breakthrough that he was unable to "sleep, eat, or drink for an entire week after". The painting was first shown at the 1915 The Last Futurist Exhibition 0,10 at the Field of Mars square in Saint Petersburg (then Petrograd). Its hanging in the icon corner emphasised the collision between Modernism and traditional Eastern Orthodox culture.Over the following decades, Malevich made three other oil on canvas variants (in 1924, 1929, while the final version is thought to date from the late 1920s or early 1930s). He created numerous lithographs of the image, used it to decorate his signature, and applied it to lapels he gave to his students. The reverse contains the inscription "1913", however, this is thought to refer to the year of the design's conception that year for Victory over the Sun. He continued to refer to it as The main Suprematist element. Square. 1913. According to an overview of the work by Tate Modern, Malevich may have given an earlier date to appear more ahead of the curve during the early years of Abstract art.


黒い四角形

Prompt: 黒い四角形の構成を説明してください。英語で出力して下さい。

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Malevich created the first version in 1915 using broad strokes of thick black oil paint onto a 79.5cm x 79.5cm  linen canvas. The border and edges were applied with various shades of white and grey paint.Malevich was a prolific and talented self-publicist and has been described as both a "brilliant, grandiose, messianic figure" and a "fanatic pamphleteer". Sensing a breakthrough, he declared the painting as a milestone in both his oeuvre and "in the history of art". He later wrote that he was so excited at the breakthrough that he was unable to "sleep, eat, or drink for an entire week after". The painting was first shown at the 1915 The Last Futurist Exhibition 0,10 at the Field of Mars square in Saint Petersburg (then Petrograd). Its hanging in the icon corner emphasised the collision between Modernism and traditional Eastern Orthodox culture.Over the following decades, Malevich made three other oil on canvas variants (in 1924, 1929, while the final version is thought to date from the late 1920s or early 1930s). He created numerous lithographs of the image, used it to decorate his signature, and applied it to lapels he gave to his students. The reverse contains the inscription "1913", however, this is thought to refer to the year of the design's conception that year for Victory over the Sun. He continued to refer to it as The main Suprematist element. Square. 1913. According to an overview of the work by Tate Modern, Malevich may have given an earlier date to appear more ahead of the curve during the early years of Abstract art.


黒い四角形

Prompt: 黒い四角形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。

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Malevich created the first version in 1915 using broad strokes of thick black oil paint onto a 79.5cm x 79.5cm  linen canvas. The border and edges were applied with various shades of white and grey paint.Malevich was a prolific and talented self-publicist and has been described as both a "brilliant, grandiose, messianic figure" and a "fanatic pamphleteer". Sensing a breakthrough, he declared the painting as a milestone in both his oeuvre and "in the history of art". He later wrote that he was so excited at the breakthrough that he was unable to "sleep, eat, or drink for an entire week after". The painting was first shown at the 1915 The Last Futurist Exhibition 0,10 at the Field of Mars square in Saint Petersburg (then Petrograd). Its hanging in the icon corner emphasised the collision between Modernism and traditional Eastern Orthodox culture.Over the following decades, Malevich made three other oil on canvas variants (in 1924, 1929, while the final version is thought to date from the late 1920s or early 1930s). He created numerous lithographs of the image, used it to decorate his signature, and applied it to lapels he gave to his students. The reverse contains the inscription "1913", however, this is thought to refer to the year of the design's conception that year for Victory over the Sun. He continued to refer to it as The main Suprematist element. Square. 1913. According to an overview of the work by Tate Modern, Malevich may have given an earlier date to appear more ahead of the curve during the early years of Abstract art.


黒い四角形

Prompt: 黒い四角形に関して、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。

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Malevich created the first version in 1915 using broad strokes of thick black oil paint onto a 79.5cm x 79.5cm  linen canvas. The border and edges were applied with various shades of white and grey paint.Malevich was a prolific and talented self-publicist and has been described as both a "brilliant, grandiose, messianic figure" and a "fanatic pamphleteer". Sensing a breakthrough, he declared the painting as a milestone in both his oeuvre and "in the history of art". He later wrote that he was so excited at the breakthrough that he was unable to "sleep, eat, or drink for an entire week after". The painting was first shown at the 1915 The Last Futurist Exhibition 0,10 at the Field of Mars square in Saint Petersburg (then Petrograd). Its hanging in the icon corner emphasised the collision between Modernism and traditional Eastern Orthodox culture.Over the following decades, Malevich made three other oil on canvas variants (in 1924, 1929, while the final version is thought to date from the late 1920s or early 1930s). He created numerous lithographs of the image, used it to decorate his signature, and applied it to lapels he gave to his students. The reverse contains the inscription "1913", however, this is thought to refer to the year of the design's conception that year for Victory over the Sun. He continued to refer to it as The main Suprematist element. Square. 1913. According to an overview of the work by Tate Modern, Malevich may have given an earlier date to appear more ahead of the curve during the early years of Abstract art.


黒い四角形

Prompt: 黒い四角形に焦点を当てて、その解釈を説明してください。英語で出力して下さい。

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Black Square is widely regarded by art historians as foundational in the development of both modern and abstract art. Malevich said the paintings began the Suprematism movement, which emphasised colour and shape. The title "Suprematism" is derived from the word supremus (Russian: Супремус), which translates as "superior" or "perfected", which Malevich said reflected his desire to "liberate" painting from mimesis (imitation) and representational art.Although the movement gained many supporters among the Russian avant-garde, it was overshadowed by constructivism, whose manifesto better reflected the ideology of the early Soviet government and which had a larger influence on later 20th century art. Today Suprematism is almost exclusively associated with Malevich and his apprentice El Lissitzky.


黒い四角形

Prompt: 黒い四角形の解釈を説明してください。英語で出力して下さい。

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Black Square is widely regarded by art historians as foundational in the development of both modern and abstract art. Malevich said the paintings began the Suprematism movement, which emphasised colour and shape. The title "Suprematism" is derived from the word supremus (Russian: Супремус), which translates as "superior" or "perfected", which Malevich said reflected his desire to "liberate" painting from mimesis (imitation) and representational art.Although the movement gained many supporters among the Russian avant-garde, it was overshadowed by constructivism, whose manifesto better reflected the ideology of the early Soviet government and which had a larger influence on later 20th century art. Today Suprematism is almost exclusively associated with Malevich and his apprentice El Lissitzky.


黒い四角形

Prompt: 黒い四角形はどのように解釈を説明していますか？英語で出力して下さい。

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Black Square is widely regarded by art historians as foundational in the development of both modern and abstract art. Malevich said the paintings began the Suprematism movement, which emphasised colour and shape. The title "Suprematism" is derived from the word supremus (Russian: Супремус), which translates as "superior" or "perfected", which Malevich said reflected his desire to "liberate" painting from mimesis (imitation) and representational art.Although the movement gained many supporters among the Russian avant-garde, it was overshadowed by constructivism, whose manifesto better reflected the ideology of the early Soviet government and which had a larger influence on later 20th century art. Today Suprematism is almost exclusively associated with Malevich and his apprentice El Lissitzky.


黒い四角形

Prompt: 黒い四角形に関して、どのように解釈が議論されていますか？英語で出力して下さい。

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Black Square is widely regarded by art historians as foundational in the development of both modern and abstract art. Malevich said the paintings began the Suprematism movement, which emphasised colour and shape. The title "Suprematism" is derived from the word supremus (Russian: Супремус), which translates as "superior" or "perfected", which Malevich said reflected his desire to "liberate" painting from mimesis (imitation) and representational art.Although the movement gained many supporters among the Russian avant-garde, it was overshadowed by constructivism, whose manifesto better reflected the ideology of the early Soviet government and which had a larger influence on later 20th century art. Today Suprematism is almost exclusively associated with Malevich and his apprentice El Lissitzky.


黒い四角形

Prompt: 黒い四角形の文脈で、バージョンと解釈を説明してください。英語で出力して下さい。

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Malevich produced three oil on canvas copies of the original painting. The first copy was completed in 1923.The second copy was painted around 1923 in collaboration with his students Anna Leporskaya, Konstantin Rozhdestvensky and Nikolay Suyetin. The third Black Square (also at the Tretyakov Gallery) was painted c. 1929 for Malevich's solo exhibition, perhaps as a stand-in for a solo exhibition as the original was by then in poor condition.The final Black Square is the smallest and may have been intended as a diptych along with the smaller again Red Square for the 1932 exhibition Artists of the RSFSR: 15 Years in Leningrad, where the two squares formed the centerpiece of the show.


黒い四角形

Prompt: 黒い四角形の解釈に関するバージョンを説明してください。英語で出力して下さい。

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Malevich produced three oil on canvas copies of the original painting. The first copy was completed in 1923.The second copy was painted around 1923 in collaboration with his students Anna Leporskaya, Konstantin Rozhdestvensky and Nikolay Suyetin. The third Black Square (also at the Tretyakov Gallery) was painted c. 1929 for Malevich's solo exhibition, perhaps as a stand-in for a solo exhibition as the original was by then in poor condition.The final Black Square is the smallest and may have been intended as a diptych along with the smaller again Red Square for the 1932 exhibition Artists of the RSFSR: 15 Years in Leningrad, where the two squares formed the centerpiece of the show.


黒い四角形

Prompt: 黒い四角形では、どのように解釈のバージョンが説明されていますか？英語で出力して下さい。

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Malevich produced three oil on canvas copies of the original painting. The first copy was completed in 1923.The second copy was painted around 1923 in collaboration with his students Anna Leporskaya, Konstantin Rozhdestvensky and Nikolay Suyetin. The third Black Square (also at the Tretyakov Gallery) was painted c. 1929 for Malevich's solo exhibition, perhaps as a stand-in for a solo exhibition as the original was by then in poor condition.The final Black Square is the smallest and may have been intended as a diptych along with the smaller again Red Square for the 1932 exhibition Artists of the RSFSR: 15 Years in Leningrad, where the two squares formed the centerpiece of the show.


黒い四角形

Prompt: 黒い四角形の解釈におけるバージョンの特徴を説明してください。英語で出力して下さい。

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Malevich produced three oil on canvas copies of the original painting. The first copy was completed in 1923.The second copy was painted around 1923 in collaboration with his students Anna Leporskaya, Konstantin Rozhdestvensky and Nikolay Suyetin. The third Black Square (also at the Tretyakov Gallery) was painted c. 1929 for Malevich's solo exhibition, perhaps as a stand-in for a solo exhibition as the original was by then in poor condition.The final Black Square is the smallest and may have been intended as a diptych along with the smaller again Red Square for the 1932 exhibition Artists of the RSFSR: 15 Years in Leningrad, where the two squares formed the centerpiece of the show.


黒い四角形

Prompt: 黒い四角形に焦点を当てて、その影響を説明してください。英語で出力して下さい。

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Avant-garde art fell from favour after Joseph Stalin took absolute control of the USSR in the late 1920s. Stalin was notoriously suspicious of people who traveled outside the Soviet Union, and Malevich came to the attention of Stalin's secret police as a possible dissident in early 1927 when he traveled to Berlin to attended the Grosse Kunstausstellung exhibition where around 70 of his paintings and drawings scheduled for display. Malevich was aware that progressive artists were likely to be suppressed in Russia, and made attempts to relocate to Germany, where the Nazi party was already targeting so-called "degenerate art", that is art that did not conform to the idealised Aryan way of living, which was based around, according to the historian Tony Wood a dedication to "family, home and church", and was "ironically...a mirror image of the socialist realism of the hated Communists."Malevich was arrested for several days in 1930. His work was officially banned in the USSR shortly after his early death in 1935 after Stalin's favoured socialist realism was designated the official art of the union, and many other art forms were suppressed.Although Black Square wasn't exhibited again until the 1980s, today the work is regarded as historically significant in Modern art, and one of the most recognisable 20th century paintings.


黒い四角形

Prompt: 黒い四角形の影響を説明してください。英語で出力して下さい。

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Avant-garde art fell from favour after Joseph Stalin took absolute control of the USSR in the late 1920s. Stalin was notoriously suspicious of people who traveled outside the Soviet Union, and Malevich came to the attention of Stalin's secret police as a possible dissident in early 1927 when he traveled to Berlin to attended the Grosse Kunstausstellung exhibition where around 70 of his paintings and drawings scheduled for display. Malevich was aware that progressive artists were likely to be suppressed in Russia, and made attempts to relocate to Germany, where the Nazi party was already targeting so-called "degenerate art", that is art that did not conform to the idealised Aryan way of living, which was based around, according to the historian Tony Wood a dedication to "family, home and church", and was "ironically...a mirror image of the socialist realism of the hated Communists."Malevich was arrested for several days in 1930. His work was officially banned in the USSR shortly after his early death in 1935 after Stalin's favoured socialist realism was designated the official art of the union, and many other art forms were suppressed.Although Black Square wasn't exhibited again until the 1980s, today the work is regarded as historically significant in Modern art, and one of the most recognisable 20th century paintings.


黒い四角形

Prompt: 黒い四角形はどのように影響を説明していますか？英語で出力して下さい。

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Avant-garde art fell from favour after Joseph Stalin took absolute control of the USSR in the late 1920s. Stalin was notoriously suspicious of people who traveled outside the Soviet Union, and Malevich came to the attention of Stalin's secret police as a possible dissident in early 1927 when he traveled to Berlin to attended the Grosse Kunstausstellung exhibition where around 70 of his paintings and drawings scheduled for display. Malevich was aware that progressive artists were likely to be suppressed in Russia, and made attempts to relocate to Germany, where the Nazi party was already targeting so-called "degenerate art", that is art that did not conform to the idealised Aryan way of living, which was based around, according to the historian Tony Wood a dedication to "family, home and church", and was "ironically...a mirror image of the socialist realism of the hated Communists."Malevich was arrested for several days in 1930. His work was officially banned in the USSR shortly after his early death in 1935 after Stalin's favoured socialist realism was designated the official art of the union, and many other art forms were suppressed.Although Black Square wasn't exhibited again until the 1980s, today the work is regarded as historically significant in Modern art, and one of the most recognisable 20th century paintings.


黒い四角形

Prompt: 黒い四角形に関して、どのように影響が議論されていますか？英語で出力して下さい。

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Avant-garde art fell from favour after Joseph Stalin took absolute control of the USSR in the late 1920s. Stalin was notoriously suspicious of people who traveled outside the Soviet Union, and Malevich came to the attention of Stalin's secret police as a possible dissident in early 1927 when he traveled to Berlin to attended the Grosse Kunstausstellung exhibition where around 70 of his paintings and drawings scheduled for display. Malevich was aware that progressive artists were likely to be suppressed in Russia, and made attempts to relocate to Germany, where the Nazi party was already targeting so-called "degenerate art", that is art that did not conform to the idealised Aryan way of living, which was based around, according to the historian Tony Wood a dedication to "family, home and church", and was "ironically...a mirror image of the socialist realism of the hated Communists."Malevich was arrested for several days in 1930. His work was officially banned in the USSR shortly after his early death in 1935 after Stalin's favoured socialist realism was designated the official art of the union, and many other art forms were suppressed.Although Black Square wasn't exhibited again until the 1980s, today the work is regarded as historically significant in Modern art, and one of the most recognisable 20th century paintings.


黒い四角形

Prompt: 黒い四角形に焦点を当てて、その条件を説明してください。英語で出力して下さい。

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

The painting has degraded considerably since its creation. According to the American art critic Peter Schjeldahl, "the painting looks terrible: crackled, scuffed, and discolored, as if it had spent the past eighty-eight years patching a broken window. In fact, it passed most of that time deep in the Soviet archives, classed among the lowliest of the state's treasures. Malevich, like other members of the Revolutionary-era Russian avant-garde, was thrown into oblivion under Stalin. The axe fell on him in 1930. Accused of 'formalism', he was interrogated and jailed for two months."


黒い四角形

Prompt: 黒い四角形の条件を説明してください。英語で出力して下さい。

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

The painting has degraded considerably since its creation. According to the American art critic Peter Schjeldahl, "the painting looks terrible: crackled, scuffed, and discolored, as if it had spent the past eighty-eight years patching a broken window. In fact, it passed most of that time deep in the Soviet archives, classed among the lowliest of the state's treasures. Malevich, like other members of the Revolutionary-era Russian avant-garde, was thrown into oblivion under Stalin. The axe fell on him in 1930. Accused of 'formalism', he was interrogated and jailed for two months."


黒い四角形

Prompt: 黒い四角形はどのように条件を説明していますか？英語で出力して下さい。

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

The painting has degraded considerably since its creation. According to the American art critic Peter Schjeldahl, "the painting looks terrible: crackled, scuffed, and discolored, as if it had spent the past eighty-eight years patching a broken window. In fact, it passed most of that time deep in the Soviet archives, classed among the lowliest of the state's treasures. Malevich, like other members of the Revolutionary-era Russian avant-garde, was thrown into oblivion under Stalin. The axe fell on him in 1930. Accused of 'formalism', he was interrogated and jailed for two months."


黒い四角形

Prompt: 黒い四角形に関して、どのように条件が議論されていますか？英語で出力して下さい。

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

The painting has degraded considerably since its creation. According to the American art critic Peter Schjeldahl, "the painting looks terrible: crackled, scuffed, and discolored, as if it had spent the past eighty-eight years patching a broken window. In fact, it passed most of that time deep in the Soviet archives, classed among the lowliest of the state's treasures. Malevich, like other members of the Revolutionary-era Russian avant-garde, was thrown into oblivion under Stalin. The axe fell on him in 1930. Accused of 'formalism', he was interrogated and jailed for two months."


ホラティウスの誓い

Prompt: ホラティウスの誓いに焦点を当てて、そのabstractを説明してください。英語で出力して下さい。

Schematic showing the convergence of many elements in the composition at the central point

List of paintings by Jacques-Louis David

File:Study for the Oath of the Horatii- Camilla.jpg

Érasistrate découvrant la cause de la Maladie d’Antiochius

David's ''[[The Lictors Bring to Brutus the Bodies of His Sons

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

''Oath of the Horatii'', a second smaller version painted in 1786 by David and his pupil [[Girodet

File:Jacques-Louis David - Oath of the Horatii - Google Art Project.jpg

Category:Paintings by Jacques-Louis David

Oath of the Horatii (French: Le Serment des Horaces) is a large painting by the French artist Jacques-Louis David painted in 1784 and 1785 and now on display in the Louvre in Paris. The painting immediately became a huge success with critics and the public and remains one of the best-known paintings in the Neoclassical style.It depicts a scene from a Roman legend about a seventh-century BC dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city.  From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, are shown stretching their hands towards their father who holds their swords out of them. Of the three Horatii brothers, only one will survive the confrontation. However, it is the surviving brother who is able to kill the other three fighters from Alba Longa: he allows the three fighters to chase him, causing them to separate from each other, and then, in turn, kills each Curiatii brother. Aside from the three brothers depicted, David also represents, in the bottom right corner, a woman crying while sitting down. She is Camilla, a sister of the Horatii brothers, who is also betrothed to one of the Curiatii fighters, and thus she weeps in the realisation that, whatever happens, she will lose someone she loves. Seeing her weep, the surviving brother, Publius, kills Camilla for weeping over the enemy.The principal sources for the story behind David's Oath are the first book of Livy (sections 24–26) which was elaborated by Dionysius in book 3 of his Roman Antiquities. However, the moment depicted in David's painting is his own invention.It grew to be considered a paragon of neoclassical art. The painting increased David's fame, allowing him to take on his own students.


ホラティウスの誓い

Prompt: ホラティウスの誓いのabstractを説明してください。英語で出力して下さい。

Schematic showing the convergence of many elements in the composition at the central point

List of paintings by Jacques-Louis David

File:Study for the Oath of the Horatii- Camilla.jpg

Érasistrate découvrant la cause de la Maladie d’Antiochius

David's ''[[The Lictors Bring to Brutus the Bodies of His Sons

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

''Oath of the Horatii'', a second smaller version painted in 1786 by David and his pupil [[Girodet

File:Jacques-Louis David - Oath of the Horatii - Google Art Project.jpg

Category:Paintings by Jacques-Louis David

Oath of the Horatii (French: Le Serment des Horaces) is a large painting by the French artist Jacques-Louis David painted in 1784 and 1785 and now on display in the Louvre in Paris. The painting immediately became a huge success with critics and the public and remains one of the best-known paintings in the Neoclassical style.It depicts a scene from a Roman legend about a seventh-century BC dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city.  From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, are shown stretching their hands towards their father who holds their swords out of them. Of the three Horatii brothers, only one will survive the confrontation. However, it is the surviving brother who is able to kill the other three fighters from Alba Longa: he allows the three fighters to chase him, causing them to separate from each other, and then, in turn, kills each Curiatii brother. Aside from the three brothers depicted, David also represents, in the bottom right corner, a woman crying while sitting down. She is Camilla, a sister of the Horatii brothers, who is also betrothed to one of the Curiatii fighters, and thus she weeps in the realisation that, whatever happens, she will lose someone she loves. Seeing her weep, the surviving brother, Publius, kills Camilla for weeping over the enemy.The principal sources for the story behind David's Oath are the first book of Livy (sections 24–26) which was elaborated by Dionysius in book 3 of his Roman Antiquities. However, the moment depicted in David's painting is his own invention.It grew to be considered a paragon of neoclassical art. The painting increased David's fame, allowing him to take on his own students.


ホラティウスの誓い

Prompt: ホラティウスの誓いはどのようにabstractを説明していますか？英語で出力して下さい。

Schematic showing the convergence of many elements in the composition at the central point

List of paintings by Jacques-Louis David

File:Study for the Oath of the Horatii- Camilla.jpg

Érasistrate découvrant la cause de la Maladie d’Antiochius

David's ''[[The Lictors Bring to Brutus the Bodies of His Sons

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

''Oath of the Horatii'', a second smaller version painted in 1786 by David and his pupil [[Girodet

File:Jacques-Louis David - Oath of the Horatii - Google Art Project.jpg

Category:Paintings by Jacques-Louis David

Oath of the Horatii (French: Le Serment des Horaces) is a large painting by the French artist Jacques-Louis David painted in 1784 and 1785 and now on display in the Louvre in Paris. The painting immediately became a huge success with critics and the public and remains one of the best-known paintings in the Neoclassical style.It depicts a scene from a Roman legend about a seventh-century BC dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city.  From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, are shown stretching their hands towards their father who holds their swords out of them. Of the three Horatii brothers, only one will survive the confrontation. However, it is the surviving brother who is able to kill the other three fighters from Alba Longa: he allows the three fighters to chase him, causing them to separate from each other, and then, in turn, kills each Curiatii brother. Aside from the three brothers depicted, David also represents, in the bottom right corner, a woman crying while sitting down. She is Camilla, a sister of the Horatii brothers, who is also betrothed to one of the Curiatii fighters, and thus she weeps in the realisation that, whatever happens, she will lose someone she loves. Seeing her weep, the surviving brother, Publius, kills Camilla for weeping over the enemy.The principal sources for the story behind David's Oath are the first book of Livy (sections 24–26) which was elaborated by Dionysius in book 3 of his Roman Antiquities. However, the moment depicted in David's painting is his own invention.It grew to be considered a paragon of neoclassical art. The painting increased David's fame, allowing him to take on his own students.


ホラティウスの誓い

Prompt: ホラティウスの誓いに関して、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。

Schematic showing the convergence of many elements in the composition at the central point

List of paintings by Jacques-Louis David

File:Study for the Oath of the Horatii- Camilla.jpg

Érasistrate découvrant la cause de la Maladie d’Antiochius

David's ''[[The Lictors Bring to Brutus the Bodies of His Sons

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

''Oath of the Horatii'', a second smaller version painted in 1786 by David and his pupil [[Girodet

File:Jacques-Louis David - Oath of the Horatii - Google Art Project.jpg

Category:Paintings by Jacques-Louis David

Oath of the Horatii (French: Le Serment des Horaces) is a large painting by the French artist Jacques-Louis David painted in 1784 and 1785 and now on display in the Louvre in Paris. The painting immediately became a huge success with critics and the public and remains one of the best-known paintings in the Neoclassical style.It depicts a scene from a Roman legend about a seventh-century BC dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city.  From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, are shown stretching their hands towards their father who holds their swords out of them. Of the three Horatii brothers, only one will survive the confrontation. However, it is the surviving brother who is able to kill the other three fighters from Alba Longa: he allows the three fighters to chase him, causing them to separate from each other, and then, in turn, kills each Curiatii brother. Aside from the three brothers depicted, David also represents, in the bottom right corner, a woman crying while sitting down. She is Camilla, a sister of the Horatii brothers, who is also betrothed to one of the Curiatii fighters, and thus she weeps in the realisation that, whatever happens, she will lose someone she loves. Seeing her weep, the surviving brother, Publius, kills Camilla for weeping over the enemy.The principal sources for the story behind David's Oath are the first book of Livy (sections 24–26) which was elaborated by Dionysius in book 3 of his Roman Antiquities. However, the moment depicted in David's painting is his own invention.It grew to be considered a paragon of neoclassical art. The painting increased David's fame, allowing him to take on his own students.


ホラティウスの誓い

Prompt: ホラティウスの誓いに焦点を当てて、その作業の発注を説明してください。英語で出力して下さい。

Schematic showing the convergence of many elements in the composition at the central point

List of paintings by Jacques-Louis David

File:Study for the Oath of the Horatii- Camilla.jpg

David's ''[[The Lictors Bring to Brutus the Bodies of His Sons

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

''Oath of the Horatii'', a second smaller version painted in 1786 by David and his pupil [[Girodet

File:Jacques-Louis David - Oath of the Horatii - Google Art Project.jpg

Category:Paintings by Jacques-Louis David

In 1774, David won the Prix de Rome with his work Érasistrate découvrant la cause de la Maladie d’Antiochius. This allowed him to stay five years (1775–1780) in Rome as a student of the French government. Upon his return to Paris, he exhibited his work, which Diderot greatly admired; the success was so resounding that King Louis XVI of France allowed him to stay in the Louvre, a privilege greatly desired by artists. There he met Pecoul, the contractor for the actual buildings, and Pecoul's daughter, whom he married. The king's assistant, Charles-Claude Flahaut de la Billaderie, commissioned Oath of the Horatii with the intention that it be an allegory about loyalty to the state and therefore to the king. Nevertheless, David departed from the agreed-upon scene, painting this scene instead. Although the painting studies were begun in Paris, it was not painted in Paris, but in Rome, where David was visited by his pupil Jean-Germaine Drouais who had himself recently won the Prix de Rome. Ultimately, David's picture manifests a progressive outlook, deeply influenced by Enlightenment ideas, that eventually contributed to the overthrow of the monarchy. As the French Revolution approached, paintings increasingly referred to loyalty to the state rather than the family or the church. Painted five years before the Revolution, the Oath of the Horatii reflects the political tensions of the period.In 1789, David painted The Lictors Bring to Brutus the Bodies of His Sons, a picture that was also a royal commission. Shortly afterward, the king went up to the scaffold also accused of treason, as the sons of Brutus, and with the vote of the artist in the National Assembly, which supported the execution of Louis XVI.


ホラティウスの誓い

Prompt: ホラティウスの誓いの作業の発注を説明してください。英語で出力して下さい。

Schematic showing the convergence of many elements in the composition at the central point

List of paintings by Jacques-Louis David

File:Study for the Oath of the Horatii- Camilla.jpg

David's ''[[The Lictors Bring to Brutus the Bodies of His Sons

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

''Oath of the Horatii'', a second smaller version painted in 1786 by David and his pupil [[Girodet

File:Jacques-Louis David - Oath of the Horatii - Google Art Project.jpg

Category:Paintings by Jacques-Louis David

In 1774, David won the Prix de Rome with his work Érasistrate découvrant la cause de la Maladie d’Antiochius. This allowed him to stay five years (1775–1780) in Rome as a student of the French government. Upon his return to Paris, he exhibited his work, which Diderot greatly admired; the success was so resounding that King Louis XVI of France allowed him to stay in the Louvre, a privilege greatly desired by artists. There he met Pecoul, the contractor for the actual buildings, and Pecoul's daughter, whom he married. The king's assistant, Charles-Claude Flahaut de la Billaderie, commissioned Oath of the Horatii with the intention that it be an allegory about loyalty to the state and therefore to the king. Nevertheless, David departed from the agreed-upon scene, painting this scene instead. Although the painting studies were begun in Paris, it was not painted in Paris, but in Rome, where David was visited by his pupil Jean-Germaine Drouais who had himself recently won the Prix de Rome. Ultimately, David's picture manifests a progressive outlook, deeply influenced by Enlightenment ideas, that eventually contributed to the overthrow of the monarchy. As the French Revolution approached, paintings increasingly referred to loyalty to the state rather than the family or the church. Painted five years before the Revolution, the Oath of the Horatii reflects the political tensions of the period.In 1789, David painted The Lictors Bring to Brutus the Bodies of His Sons, a picture that was also a royal commission. Shortly afterward, the king went up to the scaffold also accused of treason, as the sons of Brutus, and with the vote of the artist in the National Assembly, which supported the execution of Louis XVI.


ホラティウスの誓い

Prompt: ホラティウスの誓いはどのように作業の発注を説明していますか？英語で出力して下さい。

Schematic showing the convergence of many elements in the composition at the central point

List of paintings by Jacques-Louis David

File:Study for the Oath of the Horatii- Camilla.jpg

David's ''[[The Lictors Bring to Brutus the Bodies of His Sons

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

''Oath of the Horatii'', a second smaller version painted in 1786 by David and his pupil [[Girodet

File:Jacques-Louis David - Oath of the Horatii - Google Art Project.jpg

Category:Paintings by Jacques-Louis David

In 1774, David won the Prix de Rome with his work Érasistrate découvrant la cause de la Maladie d’Antiochius. This allowed him to stay five years (1775–1780) in Rome as a student of the French government. Upon his return to Paris, he exhibited his work, which Diderot greatly admired; the success was so resounding that King Louis XVI of France allowed him to stay in the Louvre, a privilege greatly desired by artists. There he met Pecoul, the contractor for the actual buildings, and Pecoul's daughter, whom he married. The king's assistant, Charles-Claude Flahaut de la Billaderie, commissioned Oath of the Horatii with the intention that it be an allegory about loyalty to the state and therefore to the king. Nevertheless, David departed from the agreed-upon scene, painting this scene instead. Although the painting studies were begun in Paris, it was not painted in Paris, but in Rome, where David was visited by his pupil Jean-Germaine Drouais who had himself recently won the Prix de Rome. Ultimately, David's picture manifests a progressive outlook, deeply influenced by Enlightenment ideas, that eventually contributed to the overthrow of the monarchy. As the French Revolution approached, paintings increasingly referred to loyalty to the state rather than the family or the church. Painted five years before the Revolution, the Oath of the Horatii reflects the political tensions of the period.In 1789, David painted The Lictors Bring to Brutus the Bodies of His Sons, a picture that was also a royal commission. Shortly afterward, the king went up to the scaffold also accused of treason, as the sons of Brutus, and with the vote of the artist in the National Assembly, which supported the execution of Louis XVI.


ホラティウスの誓い

Prompt: ホラティウスの誓いに関して、どのように作業の発注が議論されていますか？英語で出力して下さい。

Schematic showing the convergence of many elements in the composition at the central point

List of paintings by Jacques-Louis David

File:Study for the Oath of the Horatii- Camilla.jpg

David's ''[[The Lictors Bring to Brutus the Bodies of His Sons

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

''Oath of the Horatii'', a second smaller version painted in 1786 by David and his pupil [[Girodet

File:Jacques-Louis David - Oath of the Horatii - Google Art Project.jpg

Category:Paintings by Jacques-Louis David

In 1774, David won the Prix de Rome with his work Érasistrate découvrant la cause de la Maladie d’Antiochius. This allowed him to stay five years (1775–1780) in Rome as a student of the French government. Upon his return to Paris, he exhibited his work, which Diderot greatly admired; the success was so resounding that King Louis XVI of France allowed him to stay in the Louvre, a privilege greatly desired by artists. There he met Pecoul, the contractor for the actual buildings, and Pecoul's daughter, whom he married. The king's assistant, Charles-Claude Flahaut de la Billaderie, commissioned Oath of the Horatii with the intention that it be an allegory about loyalty to the state and therefore to the king. Nevertheless, David departed from the agreed-upon scene, painting this scene instead. Although the painting studies were begun in Paris, it was not painted in Paris, but in Rome, where David was visited by his pupil Jean-Germaine Drouais who had himself recently won the Prix de Rome. Ultimately, David's picture manifests a progressive outlook, deeply influenced by Enlightenment ideas, that eventually contributed to the overthrow of the monarchy. As the French Revolution approached, paintings increasingly referred to loyalty to the state rather than the family or the church. Painted five years before the Revolution, the Oath of the Horatii reflects the political tensions of the period.In 1789, David painted The Lictors Bring to Brutus the Bodies of His Sons, a picture that was also a royal commission. Shortly afterward, the king went up to the scaffold also accused of treason, as the sons of Brutus, and with the vote of the artist in the National Assembly, which supported the execution of Louis XVI.


ホラティウスの誓い

Prompt: ホラティウスの誓いに焦点を当てて、その象徴的なテーマを説明してください。英語で出力して下さい。

Schematic showing the convergence of many elements in the composition at the central point

List of paintings by Jacques-Louis David

File:Study for the Oath of the Horatii- Camilla.jpg

Érasistrate découvrant la cause de la Maladie d’Antiochius

David's ''[[The Lictors Bring to Brutus the Bodies of His Sons

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

''Oath of the Horatii'', a second smaller version painted in 1786 by David and his pupil [[Girodet

File:Jacques-Louis David - Oath of the Horatii - Google Art Project.jpg

Category:Paintings by Jacques-Louis David

The painting depicts the Roman Horatius family, who, according to Titus Livius' Ab Urbe Condita (From the Founding of the City) had been chosen for a ritual duel against three members of the Curiatii, a family from Alba Longa, in order to settle disputes between the Romans and the latter city. As revolution in France loomed, paintings urging loyalty to the state rather than to clan or clergy abounded. Although it was painted nearly four years before the revolution in France, The Oath of the Horatii became one of the defining images of the time. In the painting, the three brothers express their loyalty and solidarity with Rome before battle, wholly supported by their father. These are men willing to lay down their lives out of patriotic duty. With their resolute gaze and taut, outstretched limbs, they are citadels of patriotism. They are symbols of the highest virtues of Rome. Their clarity of purpose, mirrored by David's simple yet powerful use of tonal contrasts, lends the painting, and its message about the nobility of patriotic sacrifice, an electric intensity. This is all in contrast to the tender-hearted women who lie weeping and mourning, awaiting the results of the fighting.The mother and sisters are shown clothed in silken garments seemingly melting into tender expressions of sorrow. Their despair is partly because one sister was engaged to one of the Curiatii and another is a sister of the Curiatii, married to one of the Horatii. Upon the defeat of the Curiatii, the remaining Horatius journeyed home to find his sister cursing Rome over the death of her fiancé. He killed her, horrified that Rome was being cursed. Originally David had intended to depict this episode, and a drawing survives showing the surviving Horatius raising his sword, with his sister lying dead. David later decided that this subject was too gruesome a way of sending the message of public duty overcoming private feeling, but his next major painting, The Lictors Bring to Brutus the Bodies of His Sons depicted a similar scene - Lucius Junius Brutus brooding as the bodies of his sons, whose executions for treason he had ordered, are returned home.  This was a subject the tragedy Brutus by Voltaire had made familiar to the French. The painting shows the three brothers on the left, the Horatii father in the center, and the three women along with two children on the right.  The Horatii brothers are depicted swearing upon (saluting) their swords as they take their oath. The men show no sense of emotion. Even the father, who holds up three swords, shows no emotion. On the right, three women are weeping—one in the back and two up closer. The woman dressed in the white is a Horatius weeping for both her Curiatii fiancé and her brother; the one dressed in brown is a Curiatius who weeps for her Horatii husband and her brother. The background woman in black holds two children—one of whom is the child of a Horatius male and his Curiatii wife. The younger daughter hides her face in her nanny's dress as the son refuses to have his eyes shielded.According to Thomas Le Claire:This painting occupies an extremely important place in the body of David’s work and in the history of French painting. The story was taken from Livy. We are in the period of the wars between Rome and Alba, in 669 B.C. It has been decided that the dispute between the two cities must be settled by an unusual form of combat to be fought by two groups of three champions each. The two groups are the three Horatii brothers and the three Curiatii brothers. The drama lay in the fact that one of the sisters of the Curiatii, Sabina, is married to one of the Horatii, while one of the sisters of the Horatii, Camilla, is betrothed to one of the Curiatii. Despite the ties between the two families, the Horatii's father exhorts his sons to fight the Curiatii and they obey, despite the lamentations of the women.


ホラティウスの誓い

Prompt: ホラティウスの誓いの象徴的なテーマを説明してください。英語で出力して下さい。

Schematic showing the convergence of many elements in the composition at the central point

List of paintings by Jacques-Louis David

File:Study for the Oath of the Horatii- Camilla.jpg

Érasistrate découvrant la cause de la Maladie d’Antiochius

David's ''[[The Lictors Bring to Brutus the Bodies of His Sons

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

''Oath of the Horatii'', a second smaller version painted in 1786 by David and his pupil [[Girodet

File:Jacques-Louis David - Oath of the Horatii - Google Art Project.jpg

Category:Paintings by Jacques-Louis David

The painting depicts the Roman Horatius family, who, according to Titus Livius' Ab Urbe Condita (From the Founding of the City) had been chosen for a ritual duel against three members of the Curiatii, a family from Alba Longa, in order to settle disputes between the Romans and the latter city. As revolution in France loomed, paintings urging loyalty to the state rather than to clan or clergy abounded. Although it was painted nearly four years before the revolution in France, The Oath of the Horatii became one of the defining images of the time. In the painting, the three brothers express their loyalty and solidarity with Rome before battle, wholly supported by their father. These are men willing to lay down their lives out of patriotic duty. With their resolute gaze and taut, outstretched limbs, they are citadels of patriotism. They are symbols of the highest virtues of Rome. Their clarity of purpose, mirrored by David's simple yet powerful use of tonal contrasts, lends the painting, and its message about the nobility of patriotic sacrifice, an electric intensity. This is all in contrast to the tender-hearted women who lie weeping and mourning, awaiting the results of the fighting.The mother and sisters are shown clothed in silken garments seemingly melting into tender expressions of sorrow. Their despair is partly because one sister was engaged to one of the Curiatii and another is a sister of the Curiatii, married to one of the Horatii. Upon the defeat of the Curiatii, the remaining Horatius journeyed home to find his sister cursing Rome over the death of her fiancé. He killed her, horrified that Rome was being cursed. Originally David had intended to depict this episode, and a drawing survives showing the surviving Horatius raising his sword, with his sister lying dead. David later decided that this subject was too gruesome a way of sending the message of public duty overcoming private feeling, but his next major painting, The Lictors Bring to Brutus the Bodies of His Sons depicted a similar scene - Lucius Junius Brutus brooding as the bodies of his sons, whose executions for treason he had ordered, are returned home.  This was a subject the tragedy Brutus by Voltaire had made familiar to the French. The painting shows the three brothers on the left, the Horatii father in the center, and the three women along with two children on the right.  The Horatii brothers are depicted swearing upon (saluting) their swords as they take their oath. The men show no sense of emotion. Even the father, who holds up three swords, shows no emotion. On the right, three women are weeping—one in the back and two up closer. The woman dressed in the white is a Horatius weeping for both her Curiatii fiancé and her brother; the one dressed in brown is a Curiatius who weeps for her Horatii husband and her brother. The background woman in black holds two children—one of whom is the child of a Horatius male and his Curiatii wife. The younger daughter hides her face in her nanny's dress as the son refuses to have his eyes shielded.According to Thomas Le Claire:This painting occupies an extremely important place in the body of David’s work and in the history of French painting. The story was taken from Livy. We are in the period of the wars between Rome and Alba, in 669 B.C. It has been decided that the dispute between the two cities must be settled by an unusual form of combat to be fought by two groups of three champions each. The two groups are the three Horatii brothers and the three Curiatii brothers. The drama lay in the fact that one of the sisters of the Curiatii, Sabina, is married to one of the Horatii, while one of the sisters of the Horatii, Camilla, is betrothed to one of the Curiatii. Despite the ties between the two families, the Horatii's father exhorts his sons to fight the Curiatii and they obey, despite the lamentations of the women.


ホラティウスの誓い

Prompt: ホラティウスの誓いはどのように象徴的なテーマを説明していますか？英語で出力して下さい。

Schematic showing the convergence of many elements in the composition at the central point

List of paintings by Jacques-Louis David

File:Study for the Oath of the Horatii- Camilla.jpg

Érasistrate découvrant la cause de la Maladie d’Antiochius

David's ''[[The Lictors Bring to Brutus the Bodies of His Sons

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

''Oath of the Horatii'', a second smaller version painted in 1786 by David and his pupil [[Girodet

File:Jacques-Louis David - Oath of the Horatii - Google Art Project.jpg

Category:Paintings by Jacques-Louis David

The painting depicts the Roman Horatius family, who, according to Titus Livius' Ab Urbe Condita (From the Founding of the City) had been chosen for a ritual duel against three members of the Curiatii, a family from Alba Longa, in order to settle disputes between the Romans and the latter city. As revolution in France loomed, paintings urging loyalty to the state rather than to clan or clergy abounded. Although it was painted nearly four years before the revolution in France, The Oath of the Horatii became one of the defining images of the time. In the painting, the three brothers express their loyalty and solidarity with Rome before battle, wholly supported by their father. These are men willing to lay down their lives out of patriotic duty. With their resolute gaze and taut, outstretched limbs, they are citadels of patriotism. They are symbols of the highest virtues of Rome. Their clarity of purpose, mirrored by David's simple yet powerful use of tonal contrasts, lends the painting, and its message about the nobility of patriotic sacrifice, an electric intensity. This is all in contrast to the tender-hearted women who lie weeping and mourning, awaiting the results of the fighting.The mother and sisters are shown clothed in silken garments seemingly melting into tender expressions of sorrow. Their despair is partly because one sister was engaged to one of the Curiatii and another is a sister of the Curiatii, married to one of the Horatii. Upon the defeat of the Curiatii, the remaining Horatius journeyed home to find his sister cursing Rome over the death of her fiancé. He killed her, horrified that Rome was being cursed. Originally David had intended to depict this episode, and a drawing survives showing the surviving Horatius raising his sword, with his sister lying dead. David later decided that this subject was too gruesome a way of sending the message of public duty overcoming private feeling, but his next major painting, The Lictors Bring to Brutus the Bodies of His Sons depicted a similar scene - Lucius Junius Brutus brooding as the bodies of his sons, whose executions for treason he had ordered, are returned home.  This was a subject the tragedy Brutus by Voltaire had made familiar to the French. The painting shows the three brothers on the left, the Horatii father in the center, and the three women along with two children on the right.  The Horatii brothers are depicted swearing upon (saluting) their swords as they take their oath. The men show no sense of emotion. Even the father, who holds up three swords, shows no emotion. On the right, three women are weeping—one in the back and two up closer. The woman dressed in the white is a Horatius weeping for both her Curiatii fiancé and her brother; the one dressed in brown is a Curiatius who weeps for her Horatii husband and her brother. The background woman in black holds two children—one of whom is the child of a Horatius male and his Curiatii wife. The younger daughter hides her face in her nanny's dress as the son refuses to have his eyes shielded.According to Thomas Le Claire:This painting occupies an extremely important place in the body of David’s work and in the history of French painting. The story was taken from Livy. We are in the period of the wars between Rome and Alba, in 669 B.C. It has been decided that the dispute between the two cities must be settled by an unusual form of combat to be fought by two groups of three champions each. The two groups are the three Horatii brothers and the three Curiatii brothers. The drama lay in the fact that one of the sisters of the Curiatii, Sabina, is married to one of the Horatii, while one of the sisters of the Horatii, Camilla, is betrothed to one of the Curiatii. Despite the ties between the two families, the Horatii's father exhorts his sons to fight the Curiatii and they obey, despite the lamentations of the women.