Zbog skladnih, uravnoteženih kompozicija zovu ga "Rafaelom severne Italije." Slika se nalazi u Umetničko-istorijskom muzeju u Beču, i nekada se smatrala Pordenoneovim delom.
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Алесандро Бонвицино ( Буонвицино ), познатији као Моретто да Бреша италијански ренесансни сликар.
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He was born at Rovato, in Brescian territory, and studied first under Fioravante Ferramola. Others state he trained with Vincenzo Foppa. His brothers Pietro and Jacopo were also painters. The 1911 Britannica claims he apprenticed with Titian in Venice and that Moretto modelled his earlier portrait-painting style on the Venetian style. On the other hand, the style also resembles that of Giorgione or late Bellini. The 1911 Britannica also states that he conceived a great enthusiasm for Raphael, though he never traveled to Rome; on the other hand, his classical serenity resembles that shown by Leonardo and his followers in Lombardy such as, for example, Bramantino.[1] He may have consulted with his contemporary Girolamo Savoldo.[2]
Moretto excelled more in sedate altarpieces than in narrative action, and more in oil-painting than in fresco, although he painted fine frescoes depicting the lollygagging daughters of Count Martinengo in one of the palaces near Brescia. In 1521, he worked with Girolamo Romanino in the Cappella del Sacramento in the old cathedral of Brescia, where Moretto completed a Last Supper, Elijah in the Desert, and a Fall of Manna.[3] He was active during 1522-24 in Padua.
He painted alongside with Lorenzo Lotto at Santa Maria Maggiore in Brescia. Also in Brescia, he completed a Five Virgin Martyrs and his masterpiece, the Assumption of the Madonna for the church of San Clemente; a Coronation of the Madonna with four saints (c. 1525) for the church of Santi Nazaro e Celso; a St. Joseph for Santa Maria della Grazie; and a St Nicholas of Ban for Santa Maria de Miracoli. He collaborated with Floriano Ferramola in the decoration of the dome of the cathedral in Brescia.
In the Kunsthistorisches Museum, Vienna is a St Justina (once ascribed to Pordenone); in the Staedel Museum, Frankfort, the Madonna enthroned between Sts Anthony and Sebastian; in the Berlin Museum, a colossal Adoration of the Shepherds, and a large votive picture (one of the master's best) of the "Madonna and Child," with infant angels and other figures above the clouds, and below, amid a rich landscape, two priests; in the National Gallery, London, St Bernardin and other saints and two impressive portraits.
Il Moretto is stated to have been a man of great personal piety, preparing himself by prayer and fasting for any great act of sacred art, such as the painting of the Virgin-mother. His dated works extend from 1524 to 1554, and he taught the portrait-painter Giambattista Moroni. He also influenced Callisto Piazza.
Santa Đustina je zaštitnica Padove, i ovde je naslikana sa palminom granom kao simbolom mučeništva i jednorogom kao simbolom nevinosti. Gospodin koji joj pravi društvo je donator, odnosno naručilac slike.
Живи и ради у Руми. Није неко велико име нашег сликарства, све његове изложбе су биле углавном локалног карактера. У његовом опусу има много знаменитих личности са ових простора. Што се тиче назива слике ...
0ва брљотина у десном углу је мој покушај да обришем потпис сликара.
Levo je litografija sa likom kompozitora, desno je slika sa scenom iz njegove (epske) opere. Umetnik je isti, Francuz, poznat po grupnim portretima svojih pariskih prijatelja umetnika.
Umetnik je bio posebno oduševljen Rubensovim delima. Dostojanstvenost, veličanstvenost i jednostavnost likova u figuralnom smislu potiče iz umetnikovog poštovanja umetnosti Stare Grčke.
----------- Dopuna: 09 Jan 2010 10:00 ---------
Još jedno delo istog umetnika. Ne čini li vam se da je ženski lik na obe slike isti?
Anselm Feuerbach (September 12, 1829 – January 4, 1880) was a German painter. He was the leading classicist painter of the German 19th-century school. According to the 1911 Britannica,
He was the first to realize the danger arising from contempt of technique, that mastery of craftsmanship was needed to express even the loftiest ideas, and that an ill-drawn coloured cartoon can never be the supreme achievement in art.
Feuerbach was born at Speyer, the son of the well-known archaeologist Joseph Anselm Feuerbach and the grandson of the legal scholar Paul Johann Anselm Ritter von Feuerbach.
Ona druga slika ...sviracica na mandolini,a prvoj ne znam ime tacno...
German painter
born September 12, 1829, Speyer, Bavaria [now in Germany] died January 4, 1880, Venice, Italy
one of the leading German painters of the mid-19th century working in a Romantic style of Classicism.
Feuerbach was the son of a classical archaeologist and the nephew of the philosopher Ludwig Feuerbach. After studying art at the Düsseldorf Academy and in Munich, he went twice to Paris, where he worked in the studio of Thomas Couture and was influenced by Gustave Courbet and Eugène Delacroix.
Feuerbach lived in Italy from 1855 to 1873, and much of his best work was produced during this period. He was influenced by antique Greek and Roman art and Italian High Renaissance painting, and he developed an interest in idealized figure compositions of a lyrical, elegiac nature—e.g., his two versions of Iphigeneia (1862, 1871). Perhaps his most important and original works are the formal, statuesque portraits he painted of the model Nanna Risi between 1860 and 1865 (e.g., Nanna, 1861) and the Raphaelesque likenesses he painted of his stepmother, Henriette Feuerbach.
Jeste Anselm Fojerbah. Prvo delo bi trebalo da se zove "Svirač na mandolini" (Mandolinenspieler).
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Feuerbach received his first art lessons from the anatomical draftsman at the University of Freiburg where his father, Joseph Anselm Feuerbach, lectured in Classical philology and archaeology. Anselm Feuerbach's teacher included Thomas Couture, Johann Wilhelm Schirmer, Carl Sohn. In 1845 Feuerbach enrolled at the D�sseldorf Akademie where he studied under Wilhelm Schadow. Though adept at academic drawing, he was urged by Schadow to simplify his rather unresolved and crowded compositional sketches and concentrate on a few figures. In 1848 he moved to Munich where he made copies after Old Master paintings in the Alte Pinakothek, being especially impressed by the work of Rubens.
. . .
After having passed through the art schools of Düsseldorf and Munich, he went to Antwerp and subsequently to Paris, where he benefited by the teaching of Couture, and produced his first masterpiece, Hafiz at the Fountain (1852). He subsequently worked at Karlsruhe, Venice (where he fell under the spell of the greatest school of colorists), Rome, and Vienna. He was steeped in classic knowledge, and his figure compositions have the statuesque dignity and simplicity of Greek art.
Zanimljivo je da je Nana Risi bila model i slikaru Frederiku (lordu) Lejtonu, a o tome šta su obojica slikara našla na "svome" modelu i kako su je prikazivala, svedoči i ovo:
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In 1858, Leighton was living and painting in Rome, where he met Nanna, a cobbler’s wife with dark hair and a smoldering gaze. She posed professionally as a model and sat for many of the expatriate artists working in Italy at the time. Leighton is generally known to dress up his models and use them to depict mythological or historical figures, consistent with classical tradition. But in the case of Nanna Risi, he painted her as herself.
. . .
Nanna Risi then met and posed for the German artist Anselm Feuerbach. While Leighton’s relationship with her was platonic, Feuerbach fell passionately in love with the Italian beauty. The feeling was mutual, and Nanna left her husband and child to be with him. Feuerbach painted Nanna’s portrait at least 20 times, often posing her with her head downcast, partially in shadow, a hand resting on a shoulder, wearing the jewelry, scarves, and garments he had given her. Strikes me as an effort to state his possession – his “ownership” – of his mistress.
It’s interesting to me that the artist who had a romantic relationship with the sitter painted a colder, more formal representation of her, while the platonic relationship produced a more winsome and engaging one. Feuerbach has Nanna draped in a ton of heavy fabric, contemplating in darkness, solemn and withdrawn. Leighton, in contrast, has her looking over her shoulder, gazing directly at the viewer in crisp light and beauty, wearing a white, airy peasant blouse. Feuerbach renders her as passive and isolated. Leighton depicts her as active and keenly present.
After five years, Nanna left Feuerbach for another man. Seems to have been a pattern with her. That relationship apparently didn’t work out either, and Nanna was left in a lonely destitute condition. Feuerbach later recognized her begging in the streets, poor and bedraggled. He did not stop to help her. I wonder if Lord Leighton would have lent a compassionate helping hand to his muse?
Томас Мен Бејнс (енгл. Thomas Mann Baynes; 1794. - 1854.) био је енглески сликар и уметник познат навише по радовима рађеним техником водених боја, који је највише сликао пејзаже, зграде као и догађања. Томас Мен Бејнс је и син Џејмс Бејнса, такође сликара воденим бојама.
Sta ti je tako zanimljivo,delovala si iznenadjeno,ili se ja varam ?
Ne varaš se, iznenadilo me je to da oba dela potiču od istog umetnika.
Nije mi poznata ona litografija (ili šta je već) sa pacovima, i zaklela bih se da je mnoooogo novijeg datuma. A ono, nije.
Nego, pitanje:
"Konceptualni slikar", putem likovnih predstava posmatrača suočava sa paradoksima uma. Veruje u "iskonsku potrebu ljudskog duha za misterioznom omađijanošću, do koje se dolazi kontemplacijom lepote i harmonije." (malo glupav prevod, ali dadoh sve od sebe)
Uzore harmonije i lepote pronalazi u klasičnim antičkim skulpturama.
Carlo Maria Mariani...italijanski slikar...rodjen 1931.u Rimu...Mariani is a conceptual painter.
His work is a meditation on perfection and harmony - past, present and future. It is not enough for him to present to the world simply a glimpse of his own private vision. Instead, he offers an alternative mode of thought, to be used by all who seek refuge from mass-media induced mediocrity and cynicism...
He uses his dazzling craftsmanship and mythological themes to address the most advanced aesthetic problems of today. His work involves complex issues including reconciliations of past with present, memory with loss, and life with death...In his work, Mariani strives for heightened consciousness, and for a greater understanding of the dimensions, not only of space, but also of time."
-David Ebony, Art in America
Carlo Maria Mariani was born in Rome and studied in Italy at the Academia di Belle Arti. Mariani is a conceptual artist who uses painting as his medium. His work combines the language of both classical and contemporary imagery to express his personal vision and the hidden anxieties of our time. In 1998 he was awarded the prestigious Feltrinelli prize from the Academia dei Lincel in Rome for lifetime achievement in painting and has represented his native Italy three times in the Venice Biennale. He has exhibited worldwide Documenta, Museum of Modern Art, Los Angeles County Museum, Frye Museum in Seattle, Bologna Museum of Modern Art and his work is held in private and public collections in Europe and the United States, including the Guggenheim Museum in New York. The Earl Mcgrath Gallery is pleased to hold an exhibition of his paintings at our New York location in the spring of 2003. Mariani lives and works in New York City.
Tačno, Karlo Marija Marijani. Naziv slike bi trebalo da je Spomenik poeziji.
"Postmodernizam - Osamdesetih godina, kao reakcija na cerebralnu hladnoću konceptualne umetnosti, ispoljava se želja za jednim višim senzibilitetom, za nečim višim od iskrenog zadovoljstva u slikanju umetnika, ili zadovoljstva publike pri gledanju. Javlja se jedna vrsta nostalgije za tradicionalnim načinom izražavanja, koji se na platno prenosi pomoću boja i ikonografije koja odražava razumljive ideje. Zasićeni 'govorom' koji često ima prevagu nad likom umetnici na izvestan način tragaju za povratkom na prethodnu praksu konceptualne umetnosti. To im je uspelo u izvesnoj meri, jer je konceptualna misao obeležila duhove jednim belegom koji je previše dubok da bi nestao bez traga. I iako slikarstvo ponovo prerađuje površinu, ono nosi pečat konceptualnog pogleda na svet, koji onemogućuje okretanje unazad ili obično ponavljanje umetničkih formi iz prošlosti. Izvesna konceptualno obojena ironija još uvek postoji u latentnom obliku, kao i jedna sloboda inspiracije koja umetniku dozvoljava da neusiljeno prodre u sve poznate ikonografske osnove.
...
Izvesno 'anahrono' slikarstvo se mnogo konkretnije poziva na poznate stilove, a posebno na manirizam i neoklasicizam. Karlo Marija Marijani (1931), na taj način otkriva, uprkos čistoti prikaza koji je njegova karakteristika, konceptualnu tautologiju. Tako da na slici La mano ubbidisce all'intelletto (Ruka se pokorava intelektu, 1983) slikarstvo razmišlja nad samim sobom, i ponovo se vraća meditaciji o sopstvenoj suštini"
Grupa autora, Opšta istorija umetnosti
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He considers himself a conceptual artist who uses the representational mode to present the viewer with intellectual paradoxes. Mariani comments, "I believe in the primordial needs of the human spirit for the mysterious enchantment that stems from the contemplation of beauty and harmony - something I would call the intellectual pleasure of living.
Communicating by means of a personal iconographic system steeped in mythology and classical ideals. Mariani fuses the past with the present in order to illuminate a sometimes unsettling, but always exhilarating future. He evokes the hushed serenity of antiquity and the cacophonous turbulence of modernism, which momentarily in the paintings at least, have reached tentative accord...Mariani's aim is not to reconstruct the ancient world, nor does he present a fragmentary view of it, in the form of romantic moss-covered ruins and the like...He embraces myth as a language which he finds best suited to express his most complex emotions...For Mariani, myth is an attitude and response to the world around him, rather than simply means to explicate or reiterate the lessons of antiquity.
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