Viktorijanski umetnik, poznat po alegorijskim delima.
Želja mu je bila da načini epski ciklus slika, u kom bi putem univerzalnog jezika simbola prikazao ljudske emocije i čežnje.
George Frederic Watts,...Dzordz Federik Wotc...Engleski slikar,vajar...
a,ovo delo nosi naziv NADA..Inace,omiljena slika Baraka Obame...
George Frederic Watts, OM (23 February 1817 – 1 July 1904; sometimes spelled "George Frederick Watts") was a popular English Victorian painter and sculptor associated with the Symbolist movement. Watts became famous in his lifetime for his allegorical works, such as Hope (see image) and Love and Life. These paintings were intended to form part of an epic symbolic cycle called the "House of Life", in which the emotions and aspirations of life would all be represented in a universal symbolic language.
It is Barack Obama's favourite painting: this famous canvas by the visionary Victorian artist George Frederic Watts arguably set the President-Elect on his long path to the White House.
Perhaps the answer lies in the fact that it is not, in essence, a traditionally Christian image. This hunched, isolated, blindfolded and barefoot woman seems, despite the title, to be on the edge of despair. This is not the “sure and certain hope” of Christian tradition. It is more like the hope implied by the expression “hoping against hope”. It is the hope of those who refuse to submit to despair when it beckons.
This is probably why the painting seemed so persuasive to Watts’s Victorian contemporaries. As the art historian Malcolm Warner has pointed out, in an age beset by religious doubts, the work appeared to visualise Tennyson’s dubious expression of faith from In Memoriam: “To faintly trust the larger hope.” The trust expressed by the figure is certainly faint. Only one string on her crude wooden lyre remains unbroken. It is her only hope of music, but seems as likely to snap as to sound. In other words, she remains entranced by beauty even when it seems so tenuous.
Eh, nije bravo Sledeći put danka, preimenuj sliku.
U svakom slučaju, hvala.
Grafike poznatog starog majstora su originali, koje su ovi savremeni umetnici kupili, a zatim malo doradili.
Ime starog majstora, serije grafika, savremenih umetnika i njihovog dela.
Stari majstor je Francisko Goja (maločas mi pade na pamet, što svedoči da je jutro pametnije od večeri ), njegova serija grafika nosi naziv "Nesreće/katastrofe/užasi rata" (The Disasters of War); savremeni "dorađivači" su braća Džejk i Dino Čapman. Naziv grafike iz pitanja je u originalu "No se convienen" (They do not agree),
Citat:
They began their own collaboration in 1992. The brothers have often made pieces with plastic models or fibreglass mannequins of people. An early piece consisted of eighty-three scenes of torture and disfigurement similar to those recorded by Francisco Goya in his series of etchings, The Disasters of War (a work they later returned to) rendered into small three-dimensional plastic models. One of these was later turned into a life-size work, Great Deeds Against the Dead, shown along with Zygotic Acceleration, Biogenetic, De-Sublimated Libidinal Model (Enlarged x 1000) at the Sensation exhibition in 1997.
The Disasters of War (Spanish: Los Desastres de la Guerra) is a series of 82[1] prints created between 1810 and 1820 by Spanish master painter and printmaker Francisco Goya (1746–1828). The name by which the series is known today is not Goya's own. His handwritten title on an album of proofs given to a friend reads: Fatal consequences of Spain's bloody war with Bonaparte, and other emphatic caprices (Fatales consequencias de la sangrienta guerra en España con Buonaparte, Y otros caprichos enfáticos).[2] Aside from the titles or captions given to each print, these are Goya's only known words on the series. With The Disasters of War, Goya breaks from a number of painterly traditions. He rejects the bombastic heroics of most previous Spanish war art to show the effect of conflict on individuals. In addition he abandons colour and line in favour of a more direct truth he found in shadow and shade.
. . .
In 1993, Brit artists Jake and Dinos Chapman created 82 miniature, toy-like sculptures modelled on The Disasters of War. The works were widely acclaimed and were purchased that year by the Tate gallery. In 2003, the Chapman brothers exhibited an altered version of The Disasters of War. They purchased a complete set of prints, over which they drew and pasted demonic clown and puppy heads. The Chapmans described their "rectified" images as making a connection between Napoleon's supposed introduction of Enlightenment ideals to early 19th-century Spain and Tony Blair and George W. Bush purporting to bring democracy to Iraq. In The Guardian, Jonathan Jones wrote, "When I see the images, I think they are brilliant and profound. Oh dear. Somehow, they do not destroy, but find something new in the Disasters of War."
Dela braće Čapman imaju zajedničko ime "Uvreda/skrnavljenje povrede", a možda i "Pozleđivanje rane" (Insult to Injury).
Citat:
"We had it sitting around for a couple of years, every so often taking it out and having a look at it," says Dinos, until they were quite sure what they wanted to do. "We always had the intention of rectifying it, to take that nice word from The Shining, when the butler's trying to encourage Jack Nicholson to kill his family - to rectify the situation," interrupts Jake.
"So we've gone very systematically through the entire 80 etchings," continues Dinos, "and changed all the visible victims' heads to clowns' heads and puppies' heads."
The "new" work is called Insult to Injury. The exhibition in which it will be shown for the first time, at Modern Art Oxford, is called The Rape of Creativity.
Radovi ovog savremenog ruskog slikara krase privatne kolekcije u Rusiji, Finskoj, Švedskoj, Nemačkoj, Italiji, Španiji, Francuskoj, Kanadi, SAD ...
Motivi su najčešće: Pejzaži, šuma, luke sa brodovima, "razglednice" evropskih prestonica i poznatih gradova, cveće... Reklo bi se: "bogatim" nanošenjem slojeva boje mnogo više se otkriva...
Od karakterističnih motiva moj izbor pada na dve slike, između kojih je jedna "nekarakteristična":
----------- Dopuna: 20 Jan 2010 16:15 ---------
Zaboravnost čuda čini...
Naravno, slike su tu zbog ilustracije rečenog, a dovoljno je da navedete ime slikara i naziv jednog od postavljenih dela.
Prva slika- Golden Evening...i Принцесса (2008)...(cvece)...
Trofimoff Oleg
was born in 1962 in Tsarevo villiage near Moscow.
1979-1984 Vasnetsov’ School of the Art and Industry in Abramtsevo villiage (Moscow region). The degree work was published in the ‘Decorative Art’ magazine.
1986-1992 Stroganov’ Moscow State Art-Industrial University (former Moscow High Art-Industrial School).
He took part in 20 remarkable exhibitions in Russia and abroad.
There are a lot of his works in private collections of famous people among businessmen and politicians in Russia, Ukraine, Bulgaria, Poland, Finland, Sweden, Germany, Switzerland, Italy, Cyprus, Spain, France, Canada, USA. A number of banks and major companies invested in his works for their corporate collections.
На нынешнем этапе творческого пути у художника доминирует манера письма, близкая по своему мировоззрению к импрессионизму. Цветовая гамма, колористическое решение, фактура мазка сформировали своеобразный живописный стиль, вобравший в себя большой творческий опыт работы в стиле Московской школы живописи.
Тяготение к импрессионизму, к передаче световоздушной среды, обволакивающей, размывающей четкие контуры зданий и деревьев, присущие пейзажам последних лет, выполнены автором во время творческих поездок по Италии, Франции и США, а так же по южным курортным городам бывшего СССР.
Slikarstvo je takodje raskinulo sa srednjovjekovnom umetnoscu. Preteca slikatstva u Italiji je firentinac Djoto. Znacajan umjetnicki centar italijanske renesanse, pored Firence i Rima , bila je Venecija. Izlozeni uticajima vizantijske umetnosti kroz cio srednji vijek u gradu u kojem su Sunceva svijetlost i njeni odbljesci na vodi stalno prisutne pojave, zahvaljujuci poznavanju iusavrsavanju tehnike uljanih boja, venecijanski slikari posebno isticu bogastvo i intezitet boja i atmosferu pejsaza i prirode.
Na njihovim slikama koja nije dodatak crtezu vec bitan elemenat u oblikovanju i stvaranju slikarskog jedinstva. Tehnika uljanih boja je u Veneciju stigla iz Flandrije, venecijanski slikari, narocito Ticijan i iskoristili su njene prednosti i usavrsavali slikanje ovom tehnikom. Postigli su u ovoj tehnici slobodniji rad cetkicom koji je postao opet najvisi kod Tizijana, sredstvo izrazavanja umetnikove licnosti. Veliki slikari renesanse u Italiji pored Ticijana su jos Leonardo, Rafaelo i.............
Mikelanđelo se, pored Leonarda da Vinčija, smatra jednim od najinspirativnijih stvaralaca u istoriji umetnosti i najistaknutijim tvorcem italijanske pozne renesanse. Kao skulptor, arhitekta, slikar i pesnik ostavio je snažan uticaj kako na svoje savremenike, tako i na sledbenike moderne umetnosti uopšte.
Rođen je 6. marta 1475. godine u malom selu Kapreze blizu grada Areca. Većinu svog života proveo je u Rimu gde je radio po nalogu sveštenika. Mikelanđelov otac, firentinski zvaničnik po imenu Lodoviko Buonaroti, uz pomoć veza sa vladajućom porodicom Mediči, zaposlio je svog 13-godišnjeg sina u radionici slikara Domenika Đirlandaja. Nakon dve godine školovanja u vajarskoj školi Medičijevih, Mikelanđelo odlazi da živi u njihovom domu. U to vreme, Mikelanđelo je već stvorio neka od svojih najznačajnijih dela - "Bitku Kentaura" i "Madonu na stepeništu" čime je dokazao sav svoj talenat i posedovanje ličnog umetničkog pečata još od najranije mladosti.
Kasnije je prešao u Rim gde je nastavio svoj stvaralački rad - pored mnoštva skulptura sa religijskim značenjem, studija ljudskih lica i tela i brojnih ulja na platnu, Mikelanđelo dobija značajne angažmane u oslikavanju i ukrašavanju crkava. Najznačajniji Mikelanđelov zadatak iz tog doba bilo je oslikavanje tavanice i svodova Sikstinske kapele u Rimu po nalogu pape Julija II - od 1508. do 1512. godine. Nakon uspešno obavljenog posla, Mikelanđelo je dobio zadatak i da oslika i reljefima ukrasi grobnicu pape i kraljevsku grobnicu Medičijevih. 1546. godine bio je i glavni arhitekta bazilike Sv. Petra u Rimu. Umro je 1564. godine i sahranjen je u crkvi Santa Kroče u Firenci.
In 1466 the Guild of Traders of Florence commissioned from Verrocchio a bronze group entitled Christ and St. Thomas for an external niche of the church of Orsanmichele. The work was placed there in 1483. He devised a composition of two figures, with Christ in the centre of the niche, and the Saint stretched out, in order to avoid a rigid frontal view and to aid the spectator in better identifying the two characters.
Andrea del Verrocchio
(b Florence, 1435; d Venice, ?30 June 1488).
Italian sculptor, painter, draughtsman and goldsmith. He was the leading sculptor in Florence in the second half of the 15th century, and his highly successful workshop, in which Leonardo da Vinci trained, had a far-reaching impact on younger generations. A wide range of patrons, including the Medici family, the Venetian State and the city council of Pistoia, commissioned works from him. Exceptionally versatile, Verrocchio was talented both as a sculptor—of monumental bronzes, silver figurines and marble reliefs—and as a painter of altarpieces. He was inspired by the contemporary interest in the Antique and in the study of nature, yet, approaching almost every project as a new challenge, developed new conceptions that often defied both traditional aesthetics and conventional techniques. His fountains, portrait busts and equestrian sculpture are indebted to an iconographic tradition rooted in the early 15th century and yet they are transformed by his original outlook. His funerary ensembles are unique, so that, despite the great admiration they inspired, they had no imitators. Though a highly important artist in his own right, Verrocchio has often had the misfortune of being seen as in the shadow of his pupil Leonardo.
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