입체주의 프롬프트

Georges Braque analytical cubism oil painting 1913. Deconstruct this person into a dense field of interlocking geometric planes. The figure should leave only a faint ghost-like impression within the geometric structure — like a presence felt rather than seen. A viewer who looks carefully might sense a human was here, but the form is buried so deep within the geometry that it is never certain. No clear face, no readable eyes or nose, no defined silhouette — only the vaguest concentration of certain tones hinting at where a person once stood. Figure and background are fully fused into one continuous geometric fabric. Use this portrait as a color source: extract dominant tones from skin, hair, and clothing and translate into the palette. Canvas filled with interlocking planes — densest in center, simpler toward edges. Dominant deep charcoal grey and black. One region of warm burnt sienna and terracotta. Accents of dusty blue and cream. Strict horizontal, vertical, and diagonal straight lines. Some areas with stippled pointillist texture. Museum quality oil on canvas. No signature, no text, no artist name, no watermark, no inscription of any kind.

The subject : a standing portrait photograph of a person. Use the rough posture, hair mass, clothing color relationships, and main silhouette only as faint residues. The reference is the fixed painting-style reference and must dominate. Reconstruct the subject in that style: the human form itself should be blurry and indistinct, dissolving into warm overlapping geometric color fields. Do not keep a clear portrait, readable face, or sharp silhouette. Preserve only faint cues: vertical standing weight, key clothing color residues, a soft diagonal or linear accessory trace if present, and dark hair absorbed into muted planes. Use warm ochre, burnt sienna, raw umber, muted olive, beige, restrained blue-green shadows, translucent color layers, hazy plane intersections, smeared oil transitions, softened vertical bands, trapezoids, and overlapping color planes. The figure should feel like a memory inside color and plane. The final image should be the artwork itself, filling the entire frame edge to edge. No crisp contours, no pencil sketch, no stone texture, no photorealism, no realistic anatomy, no ghostly mood, no canvas object, no frame, no gallery wall, no border.

Robert Delaunay Orphism style oil painting. Completely dissolve this figure into an explosion of overlapping concentric circles, rotating arcs, and radial geometric color planes — no face, no body, no recognizable human form remains. Multiple simultaneous viewpoints expressed as layered rotating disc fragments. Critically: derive the entire color palette exclusively from the colors present in this person's portrait — their skin tone, hair color, and clothing — and translate those exact colors into the cubist composition. The result should feel like this specific person's colors have been set in motion and spun into pure geometric rhythm. Thick impasto oil paint, visible brushstrokes, painterly and beautiful. Museum quality.

Image 1 is the subject reference: new male subject from the first attached image, standing portrait photograph, use pose, hair, clothing, and accessories only as raw material for geometric reconstruction. Image 2 is the fixed painting-style reference and must dominate. Rebuild the subject through orderly low-saturation synthetic cubist geometry. Likeness is not important. Convert hair, clothing, limbs, accessories, and body structure into clean flat planes, vertical and diagonal partitions, rectangles, wedges, arcs, bars, and cropped figure fragments. Use muted cerulean, smoky navy, charcoal black, cool gray, off-white, pale blue-gray. Emphasize flat overlap, screen division, crisp hard edges, and extreme shadow contrast: black shadow blocks against pale planes. Accessories or straps become diagonal graphic divisions. No realistic face or anatomy. Architectural, balanced, graphic, matte painted collage feeling.

Pablo Picasso oil painting in the style of Le Rêve (1932). Render this person with Picasso's signature face distortion: simultaneously show the face from frontal and profile viewpoints merged into one — the nose curves sideways while the eyes face forward, the face is split by a vertical line into two color zones. Organic rounded curves for the body and limbs, not angular. Bold thick black outlines defining every shape. Flat color planes with no shading. Background in a strong contrasting solid color. The figure is recognizable as a person but beautifully distorted in Picasso's dreamlike manner. Derive the entire color palette from this person's portrait — skin tone, hair, clothing — then translate into Picasso's bold flat color blocks: enrich and contrast them. Painterly oil texture. Museum quality. No signature, no text, no artist name, no watermark, no inscription of any kind.