MyCity kviz - Da li vam je poznato ovo umetničko delo

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Hvala na dobrodoslici

E, ovako. Rodjen u Italiji. Izuzetna produhovljenost i ekspresionisticki stil, malo su cenjeni u doba kada je ziveo i radio. Tek jedno 6 vekova kasnije...

• 1Ovo se svidja korisniku: mcrule
  
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Draga moja, za tebe nikad nisam umorna.
Giovanni di Paolo di Grazia
1445: The Creation and the Expulsion from the Paradise

Citat:Giovanni di Paolo di Grazia (1399 or 1407 – 1472) was an Italian painter, working primarily in Siena. His middle name was Harut after his great Armenian grandfather. He may have apprenticed with Taddeo di Bartolo, becoming a prolific painter and illustrator of manuscripts, including Dante's texts.
He was one of the most important painters of the 15th century Sienese school. His early works show the influence of earlier Sienese masters, but his later style was more individual, characterized by cold, harsh colours and elongated forms. His style also took on the influence of International Gothic artists such as Gentile da Fabriano. Many of his works have an unusual dreamlike atmosphere, such as the surrealistic Miracle of St. Nicholas of Tolentino painted about 1455 and now housed in the Philadelphia Museum of Art, while his last works, particularly Last Judgment, Heaven, and Hell from about 1465 and Assumption painted in 1475, both at Pinacoteca, Siena, are grotesque treatments of their lofty subjects. Giovanni's reputation declined after his death but was revived in the 20th century.

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P.S. Hvala na pomći!
Kad dođeš kući pokazaću ti kako da preimenuješ sliku.

• 1Ovo se svidja korisniku: mcrule
  
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Dobro, mama,tacno je.
Sad ti?

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Hiljadu se puta izvinjavam, i evo - sve me je sramota ali nije namerno.

Američki slikar engleskog porekla,poznat po tome što je slikao pejzaže i divljinu, sa temama romantizma i naturalizma.

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lidzaja ::Hiljadu se puta izvinjavam, i evo - sve me je sramota ali nije namerno.

Američki slikar engleskog porekla,poznat po tome što je slikao pejzaže i divljinu, sa temama romantizma i naturalizma.


Da li je to možda Daniel Giraud Elliot?
Nisam siguran. Znam da je on bio Amerikanac, naturalista, i da je slikao divljinu.

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Ovo je surovo bilo, meni su svi ti pejzaži isti, i tražim ja neki sa dva-tri drvceta levo i jezercetom desno, i tražim, tražim... a ono na slici i neke figure, i priviđenje neko, i brodić, i reka i stene, a lidzaja ih sakrila.



Tomas Kol, Put života: mladost, 1841. detalj!
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Citat:The second painting, Youth, shows the same rich, green landscape, but here the view widens as does the voyager's experience. Now the youth grabs the tiller firmly as the angel watches and waves from the shore, allowing him to take control. The boy's enthusiasm and energy is evident in his forward-thrusting pose and billowing clothes. In the distance, a ghostly castle hovers in the sky, a white and shimmering beacon that represents the ambitions and dreams of man.
To the youth, the calm river seems to lead straight to the castle, but at the far right of the painting one can just glimpse the river as it becomes rough, choppy, and full of rocks. Cole comments on the landscape and the youth's ambitions: "The scenery of the picture--its clear stream, its lofty trees, its towering mountains, its unbounded distance, and transparent atmosphere--figure forth the romantic beauty of youthful imaginings, when the mind elevates the Mean and Common into the Magnificent, before experience teaches what is the Real."
The painting was used for the cover of Ancient Dreams by the Swedish doom metal band Candlemass.
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• 1Ovo se svidja korisniku: aleksandar996
  
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aleksandar996, nije Elliot. Više sreće i strpljena sledeći put.


Tačno je Jelkice, ali, kako ti kažeš, slađe je kad se malo pomučiš.
Istina je, sakrila sam prvo slučajno a posle namerno ostavila.

Pucaj Jelka.

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lizdaja ::...ali, kako ti kažeš, slađe je kad se malo pomučiš.
Pamti pa vrati?



"Odjednom sam nekako neprimjetno stao na tu drugu zemlju (...) Sve je bilo isto tako i kod nas, ali kao da je sve blistalo u nekom prazniku (...) naposljetku postignute pobjede. (...) Visoka, divna drveta stajala su u svoj raskoši svoga cvijeta, a njihovi bezbrojni listići , uvjeren sam u to, pozdravljali su me tihim i umiljatim svojim šumorenjem i kao da su izgovarali neke riječi ljubavi. (...) Naposljetku sam vidio i upoznao ljude te sretne zemlje. (...) Ti su se ljudi (...) primicali meni i milovali me (...) i svaki je želio da me umiri. O, nisu me ni o čem raspitivali, kao da su već sve znali i željeli da što prije odagnaju patnju s moga lica."



Francuski slikar, specijalizovao se za tada popularni žanr predstava antičkih ruševina.

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H(j)uber(t) Rober(t), "Rober(t) od ru(šev)ina", Zeleni zid.
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Citat:The marquis de Marigny, director of the Bâtiments du Roi kept abreast of his development in correspondence with Natoire, director of the French Academy, who urged the pensionnaires to sketch out-of-doors, from nature: Robert needed no urging; drawings from his sketchbooks document his travels: Villa d'Este, Caprarola. Robert spent his time in the company of young artists in the circle of Piranesi, whose capricci of romantically overgrown ruins influenced him so greatly that he gained the nickname Robert des ruines.
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Aha.

"Such buildings were admired both for their own sakes and for the emotions they aroused in the heart of the spectator. They were full of literary and historical echoes and reverberations, revealing the past within the past. A Roman ruin (even if artificial) both recalled the glory of Rome and provoked meditations on the fall of Empires, just as a medieval one brought to mind, in Alison's words, 'the awful forms of gothic superstition', and its dilapidated state might thus appear pleasantly symbolic."

Hugh Honour, "Neo-classicism"


Робер. Счастливая жизнь 1/3
Робер. Счастливая жизнь 2/3
Робер. Счастливая жизнь 3/3

Citat:The formal pretext — the museum's request, intended to popularise its treasures — coincided with the film–maker's deepest need: to create a “cultural context” for his own lyrical confession. Hence, Sokurov makes the film both about the canvasses and about the fate of an artist possessed by the idea of the search for harmony. In this respect, Hubert Robert was a man of his time, a time which found its classical ideals in the ways of life of an ancient city, an ancient personality and an ancient ruler. But the contented life of the artist, like his Age, finished with the collapse of the Napoleonic empire — it ended in disaster for his family and for himself. But he lives on in the majestic ruins in the nostalgic landscapes. These were particularly popular in nineteenth century Russia. Their vogue reflects the astonishment and delight of Russians in the face of a Western civilisation that had already followed the path from formation and development to death and destruction. Russia herself was in that very period of formation in the nineteenth century — the apocalyptic impulses were already present in the culture and social life of the Golden Age of Russia.
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upozorenje pre klika na donji video: prvo utišajte zvuk :-)


Tuzor, izvoli.