MyCity kviz - Da li vam je poznato ovo umetničko delo

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Franc Ksaver Vinterhalter, Portret madam Barbe Rimski-Korsakov, 1864, ulje na platnu (Musée d'Orsay, Pariz).
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Nešto o ženskom liku na slici:
Citat:Her name is Varvara (in Russian Варвара), often called Barbe (Demetrievna Morgassov). She was a wife of Nikolay Rimsky-Korsakov and reportedly the aunt of the famous composer by the same name. Her husband was from rich aristocratic family. He was a VERY handsome man. They married in Moscow when she was 16 or 17 and he was 20. This couple was mentioned in "Anna Karenina" by Leo Tolstoy. They had three sons: Sergei, Alexi and Nikolay.
However, they divorced and Varvara left for France. She was a regular at the Court of Napoleon III and Eugenie and was reportedly one of his lovers. Prince Obolensky wrote that she was known everywhere in France thanks to her beauty and charm. The French called her "La Venus tartare". During her time in Paris, she was painted twice by the portrait painter of the day, Franz Xavier Winterhalter. The second portrait, painted in 1845, became the most well known, and is now in the Musee d'Orsay in Paris.
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Ovog puta sam proverila odgovor

I sa zadovoljstvom mogu da kažem da je tačan,tuzore izvoli

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Zahvaljujem.

Umetnik je bio jedan od osnivača umetničke grupe, koja se smatra utemeljivačem (tada) novog pravca u slikarstvu. Njegova nesrećna sudbina "poklopila" se i sa svrstavanjem njegovih dela pod "degenerisanu umetnost".

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Ekspresionista Ernst Ludvig Kirhner, kao i Karl Šmit jedan od osnivača grupe "Die Brücke" - Portret pesnika Franka, 1917.

Citat:Ernst Ludwig Kirchner (6 May 1880 – 15 June 1938-) was a German expressionist painter and printmaker and one of the founders of the artists group Die Brücke or "The Bridge", a key group leading to the foundation of Expressionism in 20th century art. He volunteered for army service in the First World War, but soon suffered a breakdown and was discharged. In 1933, his work was branded as "degenerate" by the Nazis and in 1937 over 600 of his works were sold or destroyed. In 1938 he committed suicide.
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Jeste siroti Ernst...
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Jelkice, izvoli!

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Ovog smo slikara više puta spominjali, jednom i pogrešno identifikovali, ali nema ga na spisku postavljanih pitanja.
Ovde je sa grupom saradnika oslikao jednu čuvenu galeriju, jedne čuvene palate, koja je danas ambasada jedne evropske zemlje u Rimu.

Ko je glavni slikar, i u kojoj palati se ova prostorija nalazi?

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Glavni slikar je Hanibal Karači, koji je sa saradnicima oslikao Galeriju Farneze (na zapadnom krilu Palate Farneze u Rimu u kojoj je danas smeštena francuska ambasada).
Citat:The Loves of the Gods is an important monumental fresco cycle, completed by the Bolognese artist Annibale Carracci and his studio, in the Farnese Gallery which is located in the west wing of the Palazzo Farnese, now the French Embassy) in Rome, Italy. The frescoes were greatly admired at the time, and were later considered to reflect a significant change in painting style away from sixteenth century Mannerism to anticipation of the development of Baroque and Classicism in Rome during the seventeenth century.
. . .
In the center panel, the ‘Triumph of Bacchus and Ariadne’ depicts a both riotous and classically restrained procession which ferries Bacchus and Ariadne to their lovers' bed. Here, the underlying myth is that Bacchus, the god of wine, had gained the love of the abandoned princess, Ariadne. The procession recalls the triumphs of the Republican and Imperial Roman era, in which the parades of victorious leaders had the laurel-crowned ‘imperator’ in a white chariot with two white horses. In Carracci’s procession, the two lovers are seated in chariots drawn by tigers and goats, and accompanied by a parade of nymphs, bacchanti, and trumpeting satyrs. At the fore, Bacchus' tutor, the paunchy, ugly, and leering drunk Silenus, rides an ass. The figures carefully cavort in order to hide most naked male genitals.
[Link mogu videti samo ulogovani korisnici]
[Link mogu videti samo ulogovani korisnici]

Citat:Annibale meanwhile developed hundreds of preparatory sketches for the major product, wherein he led a team painting frescoes on the ceiling of the grand salon with the secular quadri riportati of The Loves of the Gods, or as the biographer Giovanni Bellori described it, Human Love governed by Celestial Love. Although the ceiling is riotously rich in illusionistic elements, the narratives are framed in the restrained classicism of High Renaissance decoration, drawing inspiration from, yet more immediate and intimate, than Michelangelo's Sistine Ceiling as well as Raphael's Vatican Logge and Villa Farnesina frescoes. His work would later inspire the untrammelled stream of Baroque illusionism and energy that would emerge in the grand frescoes of Cortona, Lanfranco, and in later decades Andrea Pozzo and Gaulli.

Throughout 17th and 18th centuries, the Farnese Ceiling was considered the unrivaled masterpiece of fresco painting for its age. They were not only seen as a pattern book of heroic figure design, but also as a model of technical procedure; Annibale’s hundreds of preparatory drawings for the ceiling became a fundamental step in composing any ambitious history painting.
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Anibale bi bio ponosan na ovako sadržajan odgovor, a ja dodajem samo još par rečenica u vezi sa nekoliko pretpostavki o nameni i značenju ovih fresaka:

Citat:During the 1570s and 1580s fresco cycles with mythological subjects had been relatively unfashionable in Rome, since the climate of the Counter Reformation favoured religious decoration, even in secular buildings such as palaces and villas. It may be a measure of the Catholic Church's confidence in winning the battle for souls that it could increasingly tolerate such overtly erotic decoration, even in a cardinal's palace, albeit in what was probably one of the more private rooms. Besides celebrating love's power to conquer, it is likely that the frescoes were intended to complement the antique statues, some of the finest in one of Rome's most magnificent collection of antiquities, which were displayed there.
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Citat:The work was rendered for Cardinal Odoardo Farnese for his recently-built palace, perhaps to celebrate the wedding in 1600 of Ranuccio Farnese and Margherita Aldobrandini, niece of Clement VIII. It could also have been intended as an allegory of the triumph of Alessandro Farnese, Odoardo’s father, in capturing the city of Antwerp for Philip II of Spain in 1585. Alessandro and his troops are said to have celebrated the victory by donning grape and ivy vines.
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Tuzor, daj neko trijumfalno pitanje.

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Stiže trijumfalno!

Tema je obrađivana od strane više izuzetno poznatih umetnika.

Za "našeg" umetnika kažu da je u sebi "pomirio" uticaje italijanske i holandske škole. Delo se, zavisno od izvora, različito naziva, s tim što bi duži naziv odgovarao nemačkom originalu.

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Hans fon Ahen, Trijumf Pravde ili Sieg der Wahrheit unter dem Schutze der Gerechtigkeit ("Trijumf Istine pod zaštitom Pravde", ili tako nekako).