As a painter, he is best known as an "unorthodox and extravagant" and a "perpetual rebel" [1] proto-Romantic.
. . .
While Rosa had a facile genius at painting, he pursued a wide variety of arts: music, poetry, writing, etching, and acting. In Rome, he befriended Pietro Testa and Claude Lorraine. During a Roman carnival play he wrote and acted in a masque, in which his character bustled about Rome distributing satirical prescriptions for diseases of the body and more particularly of the mind. In costume, he inveighed against the farcical comedies acted in the Trastevere under the direction of Bernini.
While his plays were successful, this also gained him powerful enemies among patrons and artists, including Bernini himself, in Rome. By late 1639, he had had to relocate to Florence, where he stayed for 8 years. He had been in part, invited by a Cardinal Giancarlo de Medici. Once there, Rosa sponsored a combination of studio and salon of poets, playwrights, and painters --the so called Accademia dei Percossi ("Academy of the Stricken").
. . .
Finally he returned to stay in Rome in 1649. Here he painted some important subjects, showing the uncommon bent of his mind as it passed from landscape into history Democritus amid Tombs, Death of Socrates, Regulus in the Spiked Cask (these two are now in England), Justice Quitting the Earth and the Wheel of Fortune. This last satirical work raised a storm of controversy. Rosa, endeavouring at conciliation, published a description of its meaning (probably softened down not a little from the real facts); nonetheless he was nearly arrested. It was about this time that Rosa wrote his satire named Babylon, under which name Rome was of course indicated.
Taj je. Danas je poznat po brojnim pejzažima, koje on sam nije smatrao naročito značajnim u odnosu na svoje istorijske kompozicije.
Citat:
According to the inscription, the picture was a gift by Rosa to his friend Giovanni Battista Ricciardi (1624–1686). Ricciardi was a man of letters and a reader in moral philosophy at Pisa. The painting is listed in an inventory drawn up after Ricciardi's death as "a philosopher who writes on a skull." Although it was later described as a portrait of Ricciardi, the figure resembles Rosa and it is likely to be a self-portrait. The wreath of cypress is an emblem of mourning, while on the table is a book by the Roman stoic philosopher Seneca (Seneca's name is a pentiment; it was painted out by Rosa). The Greek inscription on the skull reads "Behold, whither, when."
"Ako bi trebalo odgovoriti na pitanje kojim plastičnim elementom, ili osobinom, Hakman najpre i najviše dotiče vreme i raspoloženje dvadesetih i tridesetih godina, odgovorio bih: srebrnim sivilom, tihom svetlošću koja preliva sve njegove kolorističke odnose. Osećam u njegovom delu onu melanholiju, ono unutarnje emocionalno sagorevanje kao naličje evazije pred zbiljom sveta, notu inače osobenu za srpsku umetnost između dva rata. Kao boju vremena nalazimo je u tadašnjem delu Čelebanovićevom, Milunovićevom, Lubardinom. Realnost kao da je potopljena ne samo u prirodnu već i u emocionalnu atmosferu. Hakman je pažljivo posmatrao stvarnost - gradski predeo, zelenilo u prirodi, predmete - ne menjajući ništa bitno, ne intervenišući intelektualno. Njegova četka samo prevodi ono što njegovo oko vidi, i prilikom tog prevođenja dolazi do delikatnog preobražaja senzacije u emociju, fragmenta u celinu, empirijskog u umetničko.
Јесте Коста. И добар је линк. Придружујем само овај на српском, где се могу наћи и занимљиви детаљи из живота и стваралаштва овог уметника:
http://www.rastko.net/hakman/
'To Every Age Its Art, To Art Its Freedom'. So reads the proclamation over the entrance to this building. And for the nineteen artists who founded the Secession movement, those words were nothing short of a mantra. As the name denotes, the Secessionists had had enough of the stuffy staidness of the Academy and so they decided to go it alone. Gustav Klimt was elected the first leader of the association, which included Austrians, Poles and other pioneering artists from across the Habsburg Empire. Needless to say, the crowning element was derided as a 'golden cabbage' by the group's detractors, but such is life! Klimt's famed 'Beethoven Frieze' can still be savoured downstairs, and a small exhition chronicles the history of the movement.
Located in Vienna, The Secession building was built in 1897 by Joseph Maria Olbrich as an architectural manifesto and exhibition hall for the secession group. Secession refers to the seceding of a group of rebel artists from the long-established fine art institution.
The building features The Beethoven Frieze by Gustav Klimt, one of the most widely recognized artworks of Secession style (a branch of Art Nouveau, also known as Jugendstil).
. . .
Jugendstil owls - Detail of the facade of the Viennese Secession Building. These designs for building’s facade decoration are attributed to Koloman Moser.
Zahvaljujući usaglašenoj mudrosti, stiže novo pitanje :
Umetnik mlađe generacije nadrealističkog usmerenja, poznat po tvorevinama iz vlastite krvi, te po sagledavanju obeju strana života - postojanja i nepostojanja.
----------- Dopuna: 09 Dec 2009 19:45 ---------
Inače - rođeni Njujorčanin sa urođenim metafizičkim senzibilitetom.
----------- Dopuna: 12 Dec 2009 11:41 ---------
Živi i radi u Njujorku, i član je Društva za umetnost imaginacije. Ima tek 27 godina.
Castiglia’s work can be viewed as an examination of the human experience, caught in a cycle of inevitable decay and biological futility. The juxtaposition of living and dead tissue (rendered in his own biological tissue), suggests a humanity which is itself infirmed, self-perpetuating, and ultimately destructive. While these existentialist notions are conveyed, the undercurrent themes of victory and survival run forcibly through each painting. The work’s capacity to simultaneously attract and repel is evidence of Castiglia’s ability to use blood to transmit something other than fear – as a pathway for the realization and relation of truth (the artist’s truth as well as one more universal).
“In a sense, they’re not paintings, they are hemorrhages.”
As decomposition and decay are so much a part of life as birth and growth, one can see this cycle occur in Castiglia’s work. Castiglia’s art confronts the innate fear of these natural phenomena and exposes their reality by the precise rendering of these conventionally intangible facts. Contradiction and struggle give the work a life of its own. His unique visual language is stripped of all but the essential elements.
...
Castiglia’s use of only blood and water on paper as well the technique by which it is applied to his canvases achieves more tonal range and textural possibilities than the rusty sepia one associates with blood stains. He has discovered ways to control this unique pigment to realize the requirements of his inspiration. His skillful handling of this iron rich pigment is a significant component, as is his personal vision and disciplined rendering of his subject matter. The viewer is not only allowed to see into the figure, but also through it, into a deeper psychological world.
Hvala! Ih, pa šta je lepše od - . A ja umem i da ga otkucam, bez upotrebe miša.
U februaru će u hjustonskom Muzeju lepih umetnosti biti otvorena izložba posvećena ovom umetniku. Postavka se trenutno nalazi u jednoj vašingtonskoj galeriji. Umetnik je već gostovao ovde na kvizu. Poznat je po portretima uglednih građana, ali izložba je posvećena slikama sa marinskim scenama, kojima je umetnik bio zaokupljen na početku svoje slikarske karijere.
Ruski slikar nadrealista, istovetnog prezimena kao poznati biolog, i doktor filosofije-svetski putnik i istraživač.
Na platnu je "maskirano" lice čuvenog engleskog književnika, a njegovo ime je i u nazivu dela.
(Kuku, valjda će biti u redu, namučih se bez "miša" da okačim sliku!)
Jeste Igor. Delo ispravno navedeno, postavljen adekvatan link...
Šta reći, osim - Jelkice, izvoli! (Ako sam uspeo da "iskopiram" ovog smajlija, svaka mi čast! Sad ću da vidim...)
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