翻訳と辞書
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・ Portrait of the Artist's Mother (Van Gogh)
・ Portrait of the Artist's Mother at the Age of 63
・ Portrait of the Count-Duke of Olivares
・ Portrait of the Count-Duke of Olivares (Hermitage)
・ Portrait of the Count-Duke of Olivares (São Paulo)
・ Portrait of the Duchess of Alba
・ Portrait of the Duke of Wellington
・ Portrait of the Family Hinlopen
・ Portrait of the Fighter as a Young Man
・ Portrait of the Four Tetrarchs
・ Portrait of the Goddess
・ Portrait of the Infanta Maria Theresa of Spain
・ Portrait of the Infante Don Carlos
・ Portrait of the Vendramin Family
・ Portrait of Thomas Cromwell
Portrait of Tommaso Inghirami
・ Portrait of Tracy
・ Portrait of Ugolino Martelli
・ Portrait of Unknown Man (Bernini)
・ Portrait of Vincent Nubiola
・ Portrait of Vincenzo Anastagi
・ Portrait of Vincenzo Mosti
・ Portrait of Wally
・ Portrait of Wes
・ Portrait of Winckelmann
・ Portrait of Yevgeny Mravinsky
・ Portrait of Yutog Yontan Gonpo
・ Portrait of Zubin Mehta
・ Portrait of Сontemporary (Leningrad, 1976)
・ Portrait painting


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Portrait of Tommaso Inghirami : ウィキペディア英語版
Portrait of Tommaso Inghirami

''Portrait of Tommaso Inghirami'' is an oil painting by Italian artist Raphael. Painted ca. 1509, it exists in two copies, one of which is in display in the Palatina Gallery in Florence and the other in the Isabella Stewart Gardner Museum in Boston. Known for its realism and attention to detail, the image is reminiscent of works by Hans Holbein the Elder, by whom Raphael may have been influenced in its execution.〔 Stylistically, it relates to Raphael's ''Portrait of Agnolo Doni'', ca.1506, in what Claudio Strinati described in 1998 as its "merciless clarity."〔
The subject of the painting, Tommaso Inghirami, was a friend of Raphael's, a prelate nicknamed Phaedra following a skillful exhibition of Latin poetry improvisation during a performance of Seneca's ''Phaedra'' wherein he carried the title role. A popular orator and actor, Tommaso Inghirami had strabismus. According to 2005's ''Cambridge Companion to Raphael'', the piece is "the first likeness into which Raphael introduced the concept of movement", in the twist of his body as he contemplates his composition. By means of this device, Raphael focused attention away from his subject's disfigurement.〔
==References==



抄文引用元・出典: フリー百科事典『 ウィキペディア(Wikipedia)
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