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MyCity kviz - Da li vam je poznato ovo umetničko delo
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| Strana: 1, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 63 |
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 Poslao: 28 Okt 2009 23:46 |
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----------- Napisano: 28 Okt 2009 20:28 ---------
Спасибо. 
 Inspirisana nazivom dankinog bloga:
----------- Dopuna: 28 Okt 2009 23:46 ---------
Venecijanski umetnik. Jedna od pet alegorija koje su bile u vlasništvu Rudolfa II.
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Registruj se da bi učestvovao u diskusiji. Registrovanim korisnicima se NE prikazuju reklame.
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| Poslao: 29 Okt 2009 00:43 |
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Paolo Veronese...Mars i venera u ljubavi...valjda...
This picture is one of five great paintings by Veronese that formed part of the collection of Emperor Rudolf II in Prague. Two of these pictures, the Allegory of Wisdom and Strength and the Allegory of Virtue and Vice, are now in the Frick Collection, New York, and a third, Hermes, Herse and Aglauros, is in the Fitzwilliam Museum, Cambridge. The fourth is known through a copy in Vienna. All five paintings were subsequently owned by Queen Christina of Sweden (after 1648) and were later in the Orléans collection. It has been suggested that the paintings were commissioned at the time of the coronation of Rudolf II in 1576, but it is doubtful they were planned as a series, and the present picture may have been painted at a somewhat earlier time....
“Mars and Venus United by Love” by Paolo Veronese is done in the Renaissance style of painting. This is done in this style, because Poalo Veroneses was a Renaissance painter as well as his teacher Titan.
The painting takes place in Rome in the Mythological Era. It is not known who commissioned this work. Emperor Rudolf II in Prague owned this piece of artwork as well as four others of Veronese’s paintings.
Mars is the God of war; and Venus is the Goddess of love.(These are the Roman names for the Greek Gods; which in Greek Venus was called Aphrodite and Mars was actually called Aries.) The theme of this painting has to do with Roman mythology. Cupid is tying Mars and Venus together. There are many different explanations that people have came up with to explain this painting. There is always that tie between love and war, even the saying “make love not war”. The most common translation would be [Venus, the woman symbolizes chastity transformed by love into charity and that the horse held back by an armed cupid is an emblem of passion restrained](Metropolitan Museum of Art, pg.185)
http://www.123helpme.com/preview.asp?id=43717
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| Poslao: 29 Okt 2009 00:48 |
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| Poslao: 29 Okt 2009 00:57 |
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Hvala... 
Po cemu je ovo delo posebno,ili po cemu se izdvaja? Bilo bi lepo i to reci,ali ono sto je ''obavezno''...ime umetnika i slike... ...
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| Poslao: 29 Okt 2009 14:25 |
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Pablo Pikaso, Majka i dete
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| Poslao: 29 Okt 2009 17:29 |
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Tako je jelkice... ..
Znamo svi,da je pravi tvorac apstraknog pokreta u umetnosti XX veka,Pablo Pikaso... i da,posto se 1910 god..kubizam(Kubizam je ponikao iz dela i teorije Pola Sezana koji je svoja iskustva i praksu naveo u jednom pismu 15. aprila 1904. godine Emilu Bernardu u kome on piše da se ceo realni svet sastoji od kocke, kugle i valjka odnosno geometrijskih oblika na koje se svi oblici mogu rastaviti da bi se naslikali. Sezan je umro i posle njegove smrti je nastao ovaj pravac koji je on inicirao u svojim delima...)...
Dakle,posto se ucvrstio ,kao alternativa za fovizam,koju godinu kasnije ,Pikaso i Braque zapocinju kroz svoja dela sledecu fazu u razvoju kubizma..daleko smeliju ,nego sto je to bila prva...
Iza toga Pikaso stice vec svetsku slavu,a pokret se rasirio po celom zapadnom svetu uticuci ne samo na slikare,vajare,vec i na arhitekte.
Pikaso,zacetnik novog pravca, i posle pronalaska kolaznog kubizma ,pocinje da slika na veoma brizljiv i realistican nacin i negde oko 1920.slika na potpuno dva razlicita stila...
Jedan od njih je tipican u neoklasicnom stilu cvrsto modelovanih ,glomaznih likova ,a to je njegova, MAJKA I DETE...
Mnogim njegovim obozavaovima ,to je licilo na neku vrstu izdaje....Nego...
Pikaso je bio ljut zbog ogranicenja koje mu je nametao kolazni kubizam,pa mu je bilo potrebno da uspostavi dodir s klasicnom tradicijom,''muzijskom umetnoscu''.
Likovi na MAJCI I DETETU,odlikuju se nekom laznom monumentalnoscu,koja nagovestava vise kolosalne statue ,nego ljudska bica od krvi i mesa,mada je tema obradjena sa neobicnom neznoscu.Takodje ,oblici su brizljivo uklopljeni u okvir,slicno nacinu...nekih drugih dela...
Izvoli Jelkice...
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| Poslao: 29 Okt 2009 19:23 |
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Hvala danka.
| danka- :: | | Znamo svi,da je pravi tvorac apstraknog pokreta u umetnosti XX veka,Pablo Pikaso... |
Za razliku od Jansona, ja mislim da je to ipak Kandinski.
Francuski simbolista, poznat po likovima zamišljenih mladih žena. |
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| Poslao: 29 Okt 2009 19:45 |
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| Edmond Aman-Jean...ko bi drugiiii... |
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| Poslao: 29 Okt 2009 20:07 |
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Jeste, i Devojka sa paunom.
Izvoli danka. |
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| Poslao: 29 Okt 2009 20:25 |
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ovo je bas laganoooo |
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| Poslao: 30 Okt 2009 01:03 |
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Čarls Demut, Videh broj pet u zlatu, 1928.
| Citat: | "The Figure 5 in Gold" is one of a series of eight abstract portraits of friends, inspired by Gertrude Stein's word-portraits, that Demuth made between 1924 and 1929. This painting pays homage to a poem by William Carlos Williams. Like Marsden Hartley's "Portrait of a German Officer" and Arthur Dove's "Ralph Dusenberry," this portrait consists not of a physical likeness of the artist's friend but of an accumulation of images associated with him — the poet's initials and the names "Bill" and "Carlos" that together form a portrait.
Williams' poem "The Great Figure" describes the experience of seeing a red fire engine with the number 5 painted on it racing through the city streets. While Demuth's painting is not an illustration of Williams's poem, we can certainly sense its "rain/and lights" and the "gong clangs/siren howls/and wheels rumbling." The bold 5 both rapidly recedes and races forward in space, and the round forms of the number, the lights, the street lamp, and the arcs at the lower left and upper right are played against the straight lines of the fire engine, the buildings, and the rays of light, infusing the picture with a rushing energy that perfectly expresses the spirit of the poem. |
http://www.metmuseum.org/works_of_art/collection_d.....=210008539 |
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| Poslao: 30 Okt 2009 02:09 |
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Charles Demuth (November 8, 1883 - October 23, 1935) was an American watercolorist who turned to oils late in his career, developing a style of painting known as Precisionism.
http://en.wikipedia.org/wiki/Charles_Demuth
Izvoli... |
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| Poslao: 30 Okt 2009 02:16 |
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Hvala.
Imali smo umetnika sa odrednicom stariji u imenu, a ovaj umetnik je mlađi. Al' sam pomogla.  |
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| Poslao: 30 Okt 2009 02:40 |
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| Poslao: 30 Okt 2009 03:10 |
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Tako je danka! Zanimljiva slika kompleksnog sadržaja.
http://en.wikipedia.org/wiki/The_Ambassadors_%28Holbein%29
Izvoli
"Its title is misleading because the picture arose not from a dual embassy but from a six-week visit paid by Georges de Selve, Bishop of Lavour, to his friend Dinteville, the French ambassador in London, in the spring of 1533. Dinteville himself arrived in london in the first week of February and returned to France, his mission accomplished, in November, and a year later De selve became French ambassador in Venice. De Selve's appointment cannot have been anticipated when he was in England, and there is no case therefore for supposing that the picture (like the diptych which Erasmus presented to Sir Thomas More) was an attempt to compensate physical divorce by pictural propinquity. Visually it consists of two psychologically discrete portraits which are united in a single emblematic scheme.
Though Dinteville's mission lasted a mere nine months, it was fraught with drama. A few weeks before he landed, the King was secretly married to Anne Boleyn, and Pope, Clement VII, was threatening excommunication. In May his marriage with Catherine of aragon was pronaunced void by Cranmer, and Anne Boleyn was crowned Queen. Dinteville's brother, the Bishop of Auxerre, was French ambassador at the Vatican, and negotitations were in progress for the betrothal of the Duke of Orleans, the second son of Francis I of France, to the Pope's niece. On the English side it was understood that the price which the Papacy paid for this alliance would be a more accommodating attitude toward the English royal marriage. But events developed otherwise, and a bilateral agreement was reached between France and the Papacy whereby the Pope secretly recognised the French claim to Milan and French religious policy developed in a militantly anti-Lutheran sense. Dinteville's last official task in London was to report the english king's resentment what had taken place.
In the equation of the ambassadors one term is unexplained, precisely why it was that Georges de Selve visited London. His visit was secret and official, official in that it was personally authorised by the King of France, secret in that news of it was to be kept from Montmorency, the leader of the French clerical extremists. Dinteville and De Selve had in common that both belonged to the party of moderate reformers. Entrusted with the upbringing of the Duke of Angouleme, Dinteville seems to have recommended the appointment as his tutor of Lefevre, the author of the first complete translation of the Bible into French and an associate of the crypto-Lutheran Roussel. Similarly De Selve, acting as ambassador to Charles V in 1529, delivered at the Diet of Speyer views of a notably latitudinarian tendency. It is likely, therefore, that their conjunction in the painting is due to their involment in the great religious crisis of their time and not to their common profession of diplomacy. That is corroborated by the emblatic content of the painting. Between the two figures is the symbol of discord, a lute with a broken string, beneath it is a German hymnbook, containing the first eight lines of Luther's translation of the Veni Creator Spiritus, and opposite it are the opening words of Luther's Ten Commandments, while the feet of both figures are firmly planted on a Cosmati mosaic pavement, which all contemporaries would have recognised as that of the sanctuary of Westminster Abbey. It cannot be established how the geometrical instruments above (some of them also occur in Holbein's earlier portrait of the astronomer Kratzer), the copy of Apian's Newe und Wolhgegrundete Unterweisung alle Kauffmanns Rechnung or the anamorphic skull in the center are related to this scheme, but the fact that the curtain is drawn back on the left to reveal a crucifix leaves the religious connotation of the painting in no doubt. It could well be regarded as a solemn manifesto of compromise. A program on these lines would have been no less congenial to Holbein than to the men whom he potrayed, for in 1530, three years before the Ambassadors was painted, the reform movement reached Basel, and guild members, Holbein among them, were pressed to suscribe to the new faith. Sympathetic as he was toward reform, and hostile to the Papacy as we know him to have been, Holbein refused to communicate by the new rite until a satisfactory explanation of its nature was supplied.
When Dinteville returned to France, his personal position and that of his family appeared secure. But within four years they were meanced by the jealousy of the Duchesse d'Etampes, and in 1539 three of the four brothers, excluding Jean de Dinteville but including the seemingly impregnable Bishop of Auxerre, were forced to flee from France. By 1537 the cloud on the horizon was already visible, and in that year there was comissioned a companion piece to the ambassadors. The artist is unidentified - he was probably a Fleming; the attribution to Felix Chretien is conjectural - but the subject is reasonably plain. It shows Jean de Dinteville in the center, as Moses, pointing to his brother the Bishop of Auxerre, as Aaron, before the seated figure of Pharaon, whose features have more than a chance resemblance to those of Francis I. At the back, identified by inscriptions, are two younger brothers, Guillaume and Gaucher de Dinteville. The story of aaron, the just priest, is presented as a parable of the career of Francois de Dinteville, who was threatened with expulsion from his diocese. Two inscriptions reinforce this point. One is from Genesis, "And Abraham believed in the Lord and he counted it to him for his righteousness", while the other is the motto of the Dinteville family, "Fortune the companion of merit." The painting is by no means a great work of art, but its space structure depends from the Ambassadors, and its politico-religious symbolism offers an indication of the lines on which the ambassadors should be interpreted."
John Pope-Hennessy, The Portrait in the Renaissance |
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| Poslao: 30 Okt 2009 04:17 |
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Zahvaljujem....
Bio je najvažniji evropski umetnik svoga doba koji je izvršio ogroman uticaj u evoluciji slikarstva. Njegovi se zadnji radovi smatraju pretečom romanticarskog pokreta... |
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| Poslao: 30 Okt 2009 06:36 |
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| Poslao: 30 Okt 2009 14:40 |
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| Poslao: 30 Okt 2009 19:34 |
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Umetnik čiji je autoportret u sličnom ambijentu već postavljan ovde. |
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| Poslao: 30 Okt 2009 20:23 |
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Strana 46 od 63
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