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Poslao: 28 Feb 2010 22:36
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Odgovor je tačan, a na fragmentima su predstavljne teme krunisanja Bogorodice i Jakovljevih lestvica.
I jedan zagubljeni link.  http://picasaweb.google.com/hamederk/SerbiaVojvodi.....3856417426
"Predstava krunisanja, kojom je Bogorodica slavljena kao kraljica neba, jedna je od novih tema barokne umetnosti. Kao vrhunski čin u pobedi nad grehom i ponovnim zadobijanjem raja, kompozicija je zauzimala središnje mesto u marijanskim programima. Mada je ortodoksna teološka misao pružala razvijenu osnovu za predstavu krunisanja Bogorodice, ona se u ranijoj umetnosti slika kao nebeska carica samo u Deizisu, gde, na osnovu stihova četrdeset petog psalma, istupa kao zastupnica čovečanstva. Krunisanje Bogorodičino ne pominje se u jevanđeljima, niti u ranim apokrifnim tekstovima, a predstava se pojavljuje u zapadnoevropskoj umetnosti kasnog srednjeg veka. U baroknoj ikonografiji krunisanje Bogorodičino bilo je vezano za predstavu svete Trojice, što se ističe i na natpisima samih kompozicija".
M. Timotijević, Srpsko barokno slikarstvo
Što se krečenja tiče, nekima je "zapadnjaštvo" ovih novih baroknih tema naprasno postalo neprihvatljivo u odnosu na našu veru i tradiciju.
U XVIII veku nisu baš tako mislili.
Tuzor, nastupaš.
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Poslao: 01 Mar 2010 22:22
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- lidzaja
- Građanin
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Двоумила сам се, тј. троумила, па сам можда и погрешила.
Никола́й Миха́йлович Зино́вьев (1888—1979)
ru.wikipedia.org/wiki/%D0%97%D0%B8%D0%BD%D0.....0%B8%D1%87
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Poslao: 03 Mar 2010 08:54
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- tuzor
- Legendarni građanin
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Napisano: 02 Mar 2010 10:06
Лиџаја, није Николај, али си врло близу.
Иста школа иконописања и минијатуре.
"Мој" уметник баш има споменик, док "твој" Николај има, колико видим, неку кућу-музеј, и то у другом селу. Село у којем је подигнут споменик "мом" уметнику је средиште истоименог реона, и његов назив директно упућује на стваралаштво целе групације уметника.
Dopuna: 03 Mar 2010 8:54
Увиђам да и "мој" уметник има, поред споменика, кућу-музеј (попут Николаја). Дакле, Лиџајино двоумљење уопште није чудно.
Помоћ:
Themes of his works: folklore, literature, history, contemporary subjects, rustic motives, revolutionary subjects, battle scenes, troikas, hunting scenes, ornamental subjects. Exhibits since 1923. He has painted 1000 lacquer miniatures in the whole.
There is a monument to ___________ in the centre of ________.
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Poslao: 04 Mar 2010 20:15
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- tuzor
- Legendarni građanin
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Tačno, naravno! Linkovi "pravi". Lidžaji savetujem da idući put bude malo odlučnija i sigurnija u sebe.
Jelkice, izvoli!
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Poslao: 04 Mar 2010 20:44
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Reprodukciju ove slike Humbert je zatekao u sobi koju (ni)je nameravao da iznajmi.
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Poslao: 05 Mar 2010 20:03
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tuzor ::Толстој, Бетовен, Набоков...
Lepo društvo.  Tuzor, može dalje.
EDIT:
"Humbert’s account is so well written that, albeit semitransparent, it is difficult to concentrate on the main story, the wreckage of Dolly’s life. The paintings mentioned in Lolita help to distinguish the veiled story from Humbert’s dominant and spectacular report. Apart from five contemporary painters mentioned rather en passant and three painters mentioned to modulate certain images – ‘Claude Lorrain clouds’, ‘a stern El Greco horizon, pregnant with inky rain’ and ‘three horrible Boschian cripples’ – six artists are mentioned who have a special bearing on the two stories told: Beardsley, Botticelli, Van Gogh, Prinet, Reynolds and Whistler. Beardsley’s work is not mentioned explicitly but the lascivious and ominous qualities of his work apply most fittingly to Humbert’s story. The same goes for Prinet’s Kreutzer Sonata ‘the unappetizing one in which a dishevelled violinist passionately embraces his fair accompanist as she rises from her piano stool with clammy young hands still touching the keys’, a reference to Tolstoy’s story with the same title. In this story, Tolstoy fulminates against the vileness of physical love. To express his disgust, the word ‘swinish’ is frequently used.
The remaining four paintings, Reynolds’s The Age of Innocence, Botticelli’s Venus, Van Gogh’s L’Arlésienne and Whistler’s Arrangement in Grey and Black form a surprising quartet. Together they represent a female’s life compendiously in four stages; a very young girl, a young a.dult, a middle-aged woman and an elderly lady. Moreover, the four portraits show their subject in a defenceless and fragile position. Reynolds’s young girl has a wary look and is barefooted, ill at ease, with a background showing excitement in the air. Botticelli’s Venus (whose pulchritude is dubbed ‘blurred’ by Humbert) with those illustrious melancholy eyes and reserved expression, is protecting herself against indecent looks. Van Gogh’s woman, although of a sturdy disposition, looks pensive with slightly raised eyebrows, and Whistler’s mother is fragile from sheer age. Humbert is as unobservant of these paintings as he is indifferent to Dolly’s life."
Gerard de Vries - D. Barton Johnson, Vladimir Nabokov and the Art of Painting
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