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・ The Gymslips
・ The Gynecologists
・ The Gypsies (Danish band)
・ The Gypsies (poem)
・ The Gypsies (Sri Lankan band)
・ The Gypsies Metamorphosed
・ The Gypsies of Svinia
・ The Gypsy
・ The Gypsy (film)
・ The Gypsy (novel)
・ The Gypsy and the Gentleman
・ The Gypsy Baron
・ The Gypsy Chief
・ The Gypsy Cried
・ The Gypsy Game
The Gypsy Girl
・ The Gypsy Girl at the Alcove
・ The Gypsy in My Soul
・ The Gypsy Madonna
・ The Gypsy Morph
・ The Gypsy Moths
・ The Gypsy of Athens
・ The Gypsy Prince
・ The Gypsy Queen
・ The Gypsy Queens
・ The Gypsy Queens (album)
・ The Gypsy Trail
・ The Gypsy's Wife
・ The Gyres
・ The Gâteau Affairs


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The Gypsy Girl : ウィキペディア英語版
The Gypsy Girl

''The Gypsy Girl'' (sometimes erroneously referred to as ''Malle Babbe'') is a painting by the Dutch Golden Age painter Frans Hals, painted in 1628 and now in the Louvre Museum. It is a tronie, a study of facial expression and unusual costume, rather than a commissioned portrait. The display of cleavage was certainly not a common feature of costume seen in public in Hals' time and place.
==Painting ==
This painting was catalogued by Hofstede de Groot in 1910, who wrote "THE GYPSY GIRL. B. 41; M. 263 - Half-length; life size. A laughing gipsy girl, seen almost in full face, looks down towards the right. Her brown hair falls on her shoulders. She wears a red bodice over a white chemise which exposes her breast. Yellow flesh-tones. A superb picture."〔
* (Hofstede de Groot ) on The Gipsy Girl; catalog number 119〕
Hofstede de Groot noticed that the dress of the sitter in this painting is similar to two other paintings by Hals, and he included them on either side of this one (catalogue numbers 119 and 120). This painting was first documented in a Paris sale in 1782 and every Frans Hals catalog after that includes her. In the exhibition catalog for the 1962 show, this painting's entry at #23 states that in a raking light one can see that diagonal strokes were once painted on either side of her breasts, indicating that Hals first made her décolleté less daring. Since Hals usually painted his genre works wet-on-wet in one go, such evidence of discovery while working is perhaps evidence of a certain reservation on Hals's part to make a portrait of a wanton woman, though in his time it was a common subject.〔Seymour Slive and C.A. van Hees, ''Frans Hals Exhibition catalog, 1962'', #23, The Gypsy Girl, pp 43-44〕

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