MyCity kviz - Da li vam je poznato ovo umetničko delo

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Le Korbizje - Kapela Notr-dam u Ronšampu , 1955.

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Jeste, baš ta prozorasta kapela.
[Link mogu videti samo ulogovani korisnici]
Utešila si me, taman pomislih da sam opet preterala pa se spremah za dopisivanje.
Jelo, Loma kaže-

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Napisano: 24 Apr 2009 2:10





Ova litografija objavljena je kao karikatura u jednim francuskim novinama. Autor je najpoznatiji po svojim grafikama, mada je ostavio i nekoliko slika i skulptura iza sebe.

Dopuna: 24 Apr 2009 16:37

Autor je Francuz, i poznat je po oštrim satirama uperenim protiv vlasti, ali i osećaju za tragično u prikazima ljudi.

Šarl Dobinji je uzviknuo njegovo ime kada je ugledao tavanicu Sikstinske kapele, a i Balzak ga je uporedio sa Mikelanđelom. Nameće se i poređenje sa Gojom.

Dopuna: 25 Apr 2009 3:30

Časopis u kom su objavljivane njegove karikature, pa i ova iz pitanja, zvao se "Šarivari".

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Siguran sam da bez Onorea Domijea, i njegovog rada na polju karikature, ni srpska karikatura ne bi bila to što jeste. Njegov uticaj posebno je uočljiv kod "likovnijeg" dela naših karikaturista (Smuđa, Ćeličanin...).

Čim sam video litografiju iz pitanja, znao sam da je u pitanju Onore Domije. Pretpostavio sam da su "francuske novine" ili Le Charivari, ili La Caricature. No, muke sam imao da nađem konkretnu litografiju. Trud se isplatio, a zadovoljstvu nalaženja prethodilo je tragalačko zadovoljstvo, i šire upoznavanje sa Domijeovim radom. Svakom zadovoljstvu prethodi napor, odnosno muka, i ono tim veće biva, što je prethodno uloženi napor bio izraženiji. Tako da i ja za svoju glavobolju, poput lika sa litografije DR 4018 iz serije L'IMAGINATION (objavljene 1833. godine u listu Le Charivari), mogu da kažem:
"Hola!.. hola!.... pan! pan!..... dindrelindin - dindrelindin.. hola! hola! hola!!",
odnosno:
"Bang bang bang ding ding ding".
Citat:L’IMAGINATION (Phantasies) is a series of 19 lithographs of which 15 appeared in the Charivari between January 14, 1833 and October 19, 1833. Four more appeared between December 16, 1843 and March 1844.

ABOUT THIS SERIES. During the time of Daumier's imprisonment he did a number of drawings and watercolors. Some of them have been transferred to a lithographic stone by Ramelet, like DR 50, and were published in La Caricature and later in Le Charivari. According to Champfleury, also the LD appendix numbers 29 to 43 / DR 4010 to 4024 were part of this procedure. The Charivari announced this in the edition of January 14, 1833.

The prints from the series L’Imagination are very impressive. They have been drawn by Daumier while he was serving a prison sentence (first in the prison St. Pélagie) at the hospital for the mentally ill of Dr. J.P. Casimir Pinel (1800-1856?). Pinel owned a private hospital at 67, rue de Chaillot in Paris. His rather unconventional attitude and political standing made it possible to have political detainees declared “mentally unstable”, like Daumier. Instead spending their time in prison, these unfortunate prisoners were able to serve their sentence in the relaxed surrounding of a private clinic. The hospital was run in such a laid back way that some political “prisoners” continued their subversive activity from within the clinic. Daumier continued drawing this series while being at Pinel’s, but the transfer to the lithographic stone was done by Ramelet.
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Hola!
Još malkice o Domijeu:
Fritz Novotny - Painting and Sculpture in Europe 1780 - 1880 ::"This demonism in Daumier's works - an element that is always vague and obscure - is the complement of an element directly opposed to it - the invariably clear, transparent morality of a great satirist.
...
But in contrast to Courbet's ungainly naivety, Daumier's monumentality is always based on perception and intellectual keenness.
Daumier's predilection for Moliere and Cervantes, for the classical simplicity of Moliere's social criticism and for the sublime extravagance of Don Quixote, in itself tells us a great deal about his ethical and critical attitude. Nevertheless, however keen a psychologist he may have been, it would be wrong to consider his psychological interest in mankind as the mainspring of his art. In his potrayal of human beings, side by side with malicious satire and indignation, there is a feeling for the tragic and the pitful. It does not, however, make his work depressing, since even wretched beings like his saltimbanques are surrounded with a halo of pride, like characters ih Greek tragedy. Like that of Shakespeare or Rembrandt, his art is essentially optimistic, and despite all the bitterness betrays no fear of life. This is a manifestation of that classic element in his art which is also part of its ideal content."
Stvarno nisam želela da zadajem glavobolju učesnicima kviza.
Tuzor, imaš pravo da postaviš nešto teeeeeeško sada

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Ne mogu da razmišljam o nečemu teškom (ne da mi glavobolja).

Zato, nešto lepo, i delom povezano sa prethodnim pitanjem:

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Ne znam za druge učesnike, ali meni malko pomoći ne bi bilo na odmet

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"Delom povezano sa prethodnim pitanjem" odnosi se na prijateljsku (i sunarodničku) vezu autora iz prethodnog i ovog pitanja.
Ovog autora, osim likovnog dara, krasilo je i neizmerno milosrđe.

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Kamij Koro - "Pismo" , oko 1865.

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Tačno!

Da altruizam i milosrđe Kamija Koroa nisu bez osnova proglašeni poslovičnim, dokazuje i njegov odnos prema "prijatelju u nevolji" - Onoreu Domijeu.
Citat:In later life, Corot’s studio was filled with students, models, friends, collectors, and dealers who came and went under the tolerant eye of the master, causing him to quip, “Why is it that there are ten of you around me, and not one of you thinks to relight my pipe.”[42] Dealers snapped up his works and his prices were often above 4,000 francs per painting.[37] With his success secured, Corot gave generously of his money and time. He became an elder of the artists’ community and would use his influence to gain commissions for other artists. In 1871 he gave £2000 for the poor of Paris, under siege by the Prussians. (see: Franco-Prussian War) During the actual Paris Commune he was at Arras with Alfred Robaut. In 1872 he bought a house in Auvers as a gift for Honoré Daumier, who by then was blind, without resources, and homeless. In 1875 he donated 10.000 francs to the widow of Millet in support of her children. His charity was near proverbial. He also financially supported the upkeep of a day center for children on rue Vandrezanne in Paris. In later life, he remained a humble and modest man, apolitical and happy with his luck in life, and held close the belief that, “men should not puff themselves up with pride, whether they are emperors adding this or that province to their empires or painter who gain a reputation.”

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Jelkice, drago mi je što mogu da kažem: Tvoj je red!!!