MyCity kviz - Da li vam je poznato ovo umetničko delo

• 0Niko još nije pohvalio poruku.
  Registruj se da bi pohvalio/la poruku!

Ona je Demetra iz Knidosa (Asia Minor, tj. Anadolija, današnja Turska), datovana na sredinu 4. vek st. e. U Knidosu se nalazilo njeno svetilište. Nigde, međutim, nisam uspela da otkrijem ime "pretpostavljenog" vajara.

http://www.gutenberg.org/files/16338/16338-h/16338-h.htm

• 0Niko još nije pohvalio poruku.
  Registruj se da bi pohvalio/la poruku!

Napisano: 08 Okt 2009 5:38

Tačno, naravno! Demetra iz Knidosa, ili Knidska Demetra.

Onaj "pretpostavljenko" je Leohares (jedan od četvorice skulptora koji su ukrašavali čuveni mauzolej u Halikarnasu).

http://www.britannica.com/EBchecked/topic/156990/Demeter-of-Cnidus
http://www.myartprints.com/kunst/leochares/demeter_statue_cnidus_greek_c_hi.jpg
Citat:Demeter of Cnidus. A marble figure (c.330 bc) of the goddess Demeter found at Cnidus in Asia Minor and now in the British Museum. It represents the goddess majestically seated on a throne; originally, perhaps, a figure of her daughter Persephone stood beside her. It is considered one of the finest Greek sculptures to survive from the 4th century and has been attributed to Leochares.
http://www.encyclopedia.com/doc/1O2-DemeterofCnidus.html
http://en.wikipedia.org/wiki/Leochares

Sorelag, izvoli!

Dopuna: 08 Okt 2009 5:45

P.s. I hvala na ovom linku, koji sadrži zaista poetski opis:

Citat:...the beautiful melancholy statue of the seated Demeter of the uplifted eyes; the mourning mother: the weary seeker for the lost maiden: her child Persephone. Far from the ruins above the sea, beneath the scorched seaward wall of rock: far from the aromatic fragrance of the rock-nourished flowers, from the bees, and the playful lizards, Demeter now occupies her place in the great halls of the British Museum.
http://www.gutenberg.org/files/16338/16338-h/16338-h.htm

• 0Niko još nije pohvalio poruku.
  Registruj se da bi pohvalio/la poruku!

Opet jedna alegorija

• 0Niko još nije pohvalio poruku.
  Registruj se da bi pohvalio/la poruku!

Direr - Herkul na raskršću, alegorija Ljubomore.

Panovski ::He was, however, careful to retain the accessories characteristic of the more conventional representations of Hercules at the Crossroads. As in these, the landscape background of his engraving is treated as a fay sage moralise where the forbidding Castle of Virtue is contrasted with a pleasant little town surrounded by water, trees and a rich countryside ; and the hairdress of the two women differs from that of their prototypes so as to conform to the accepted rule : the hair of Virtue is covered with a modest kerchief, and Pleasure wears those complicated plaits and tresses ("comas discriminatis variis nodis alligata," to quote the Philostratus translation of 1501) which were apparently re garded as a ne plus ultra of feminine appeal, and have already been mentioned in connection with the portrait of C Katharina Furlegerin as Voluptas" (71, fig. 68 ).

While the identity of the two female personifications cannot be and has not been doubted, the role played by the hero has given rise to discussion. It has been said that Diirer, instead of glorifying the real Hercules, intended to ridicule a spurious one. This Pseudo-Hercules, described by Lucian as "Hercules Gallicus," was allegedly worshipped by the Gauls as a god of irresistible eloquence and was thus closely akin to Mercury, the god of oratory and sophistry. Diirer himself depicted him, in a much later illustration of the Lucian text (936), under the guise of an authentic Hermes type. It has been argued that the hero of our engrav ing, though looking like a "genuine" Hercules, was nevertheless identical with this ambiguous divinity because of his fantastic headgear (the cock being at once a reference to Mercury, to whom he was sacred, and to the "Galli"), and because of such other unusual features as the laurel wreath ("the orator's decoration"), the open mouth (which would stigmatize him as a hero of words rather than of deeds), the pointed beard, etc. His attitude, furthermore, supposedly betrays his unwillingness to commit himself or even, still worse, his intention to avert the blows of Virtue while ostensibly attacking her foes. It has even been suggested that the frightened infant alludes to a vice imputed not only to the modern "Galli" but also to the classical Hercules (in this case, however, the genuine one).

This writer still believes that Diirer did not mean to cast aspersions on the character of his hero. The cock denoted courage, victory and vigilance (as in the device of Emperor Rudolf II with the motto Cura vigila) no less than blustering noisiness. A symbol of con tests and battles, he is a usual feature of the Panathenaic Amphorae (in one instance even in connection with Herakles Kallinikos) ; he was perched on the helmet of the Athena of Elis (the vizor of a German sixteenth century helmet is even shaped into the likeness of a rooster's head) ; and he was considered the only creature capable of striking fear into the heart of the lion. A headgear crowned by a cock is thus by no means unsuitable for a young hero and future killer of lions, not to mention the fact that a similar helmet already occurs in the Apocalypse where it is merely intended to distinguish a warrior from a group of civilians (294). The laurel wreath forms an obvious contrast with the wreath of vine leaves worn by the Satyr; the open mouth betrays surprise and anger rather than talkativeness; and the noncommittal attitude follows logically from the rewritten scenario. The very concept of a "choice" implies a preliminary state of indecision. Where the two rival personifications had limited themselves to speeches and had concentrated their efforts on the hero, the latter had remained a passive listener; where they come to blows, he must maintain an attitude of "non-belligerency." Without as yet participating in the fight he is, to quote from a Hercules play written by a good friend of Dxirer's (the same Benedict Schwalbe, or Chelidonius, who was to write the text to the Life of the Virgin and the two woodcut Passions) a "supporting witness" of Virtue. That there exists, finally, a "vicious relation" between the frightened child and Hercules is incompatible both with the infant's age and with the fact that he belongs, not to the hero but to the lascivious couple on the left. Looking back at them with panic-stricken eyes, he runs away from their plight as he did from that of Orpheus in the original drawing.

As for the beard, an altogether different explanation presents itself. It is quite true that the pointed beard is characteristic of the archaic "Hermes Sphenopogon" who was the indirect model of the Mercury in the "Tarocchi" and also of Durer's later "Hercules Gallicus." But it is equally true that Durer, where he did wish to depict either of these two (981 and 936), represented them beardless. On the other hand, the beard of our Hercules shows a very definite similarity with that sported by Durer himself when the engraving was made. A comparison with the Self-Portrait of 1498 in the Prado (49, fig. 109) reveals some further physiognom ical analogies (e.g. the nose) and thus suggests the possibility that Durer may have wished to cast himself in the role of a hero whose experience at the Crossroads was more often used for personal confessions and admonitions than any other mythological subject. Thus all the details which seem to support a satirical interpretation of the engraving are no less susceptible of a "serious" one. And it is the latter which is more in harmony with Durer' s psychology. He could be facetious and, on occasion, magnificently coarse ; but he was never given to subtle irony and sly insinuations.

http://www.archive.org/stream/lifeandartofalbr0006.....p_djvu.txt

http://www.relewis.com/durer-hercules.html

• 0Niko još nije pohvalio poruku.
  Registruj se da bi pohvalio/la poruku!

Odgovor je naravno tačan, a ja ću samo da dopunim linkovima

http://www.politika.rs/rubrike/Kulturni-dodatak/t47911.lt.html
http://www.lastersfineart.com/antique%20prints%20p04.htm

i pričom Herkulov izbor (Platon, Gozba), onako kako ju je prepričao
već pominjani Darin Mekman.

Na životnoj "raskrsnici" mladi Herkul nailazi na dve žene, obe ogromnog rasta. Jedna je Vrlina (arete), čedna i čista, obučena u belo; druga je Naslada, obučena kao hetera. Dok se Herkul približava, ova druga mu hita u susret i viče "Vidim da ne možeš da se odlučiš kojim ćeš putem poći... Sprijatelji se sa mnom, sledi me i ja ću te povesti najugodnijim i najlakšim putem. Okusićeš sve slasti života i nikada nećeš znati za nevolju". Kada je upita za ime, ona odgovara, "prijatelji me zovu Sreća (eudaimonia), a oni koji me mrze dali su mi nadimak porok (kakia)". Herkul se, međutim, okreće od nje i bira teži put, utabanu tragičnu stazu koja neminovno vodi u bol i patnju. "Ovo je, zaista, zadatak dostojan junaka. Vrlina može biti Herkulova zaslužena nagrada, ali u skladu s drevnom mudrošću tragičke tradicije, ovaj junak neće biti srećan. Ne može sebe usrećiti.

Ovo je put kojim se danas ređe ide."

Poenta priče ili pitanje sa kojim se antički heros suočava je "vrlina ili sreća". Herkul bira vrlinu, a ne sreću "kurvu". Tema je za diskusiju, danas i uvek. Može li odgovoran, moralan i svestan čovek ipak biti srećan?

Jelkice,

• 0Niko još nije pohvalio poruku.
  Registruj se da bi pohvalio/la poruku!

Dvostruko hvala!! Zahvaljujući tvom pitanju, Sorelag, pronađoh dve knjige Panovskog na Netu!! , a dalo mi je inspiraciju i za sledeće:



Model za konjaničku statuu koja je imala lošu sudbinu. Od skulptora je traženo da načini nacrt za ovaj spomenik po uzoru na jedno njegovo ranije slično delo u Vatikanu. Predstavljen je jedan kralj kao novi Herkul, na vrhu strme stene Vrline. Skulptor više puta postavljan ovde. Dakle ... ?

• 0Niko još nije pohvalio poruku.
  Registruj se da bi pohvalio/la poruku!

Gian Lorenzo Bernini...i Statua kralja Luisa XIV...




Bernini had originally designed the site (a mountain peak) for the Equestrian Statue of Louis XIV, the Sun King, on a fiery steed, as can be seen from the preliminary sketch. The base supporting it today lacks the vertical thrust that would enhance the image of this absolute monarch. However, Bernini chose to make the features of Louis XIV resemble those of Alexander the Great. The original terracotta model is by Bernini himself, though the sculpture was executed by his pupils, since he was by then over seventy-three years old.

When the equestrian statue of Louis XIV arrived in Paris, its triumphant Baroque quality was not appreciated. Disappointed, the king relegated it to the bottom of the Versailles gardens where, soon afterwards, Girardon transformed the figure into Marcus Curtius. Fortunately, the terracotta model has been preserved. The galloping horse repeats the type used in his statue of Constantine the Great; Louis XIV is identified, however, with Hercules, reaching the summit of the path of Virtue and, from the top of a steep cliff, attaining glory.

However, the work did not meet with a favourable reception in Paris and Girardon transformed the group into a statue of Marcus Curtius, which was formerly transferred to Versailles and is now in the Louvre...

• 0Niko još nije pohvalio poruku.
  Registruj se da bi pohvalio/la poruku!

Tačno danka

Od Berninija je traženo da načini statuu kralja Luja XIV sličnu statui, zapravo visokom reljefu, Konstantina Velikog u Vatikanu. Bernini je smislio čitav concetto kako bi opravdao potporu statue, u vidu stene, koja je tu iz sasvim praktičnih razloga, kako bi obezbedila ravnotežu figuri propetog konja. Tako je Luj XIV postao novi Herkul, na vrhu Vrline, što je bila prikladna aluzija na legendarno poreklo francuske kraljevske porodice, čiji je predak Hercules Gallicus. Statua je izvedena u mermeru prema Berninijevom nacrtu, ali je ubrzo odbačena.

http://100swallows.wordpress.com/2008/11/14/bernini-explains-his-statue/

Izvoli!

• 0Niko još nije pohvalio poruku.
  Registruj se da bi pohvalio/la poruku!

Napisano: 09 Okt 2009 14:50

Hvala...




Umetnik i delo..?

Dopuna: 10 Okt 2009 2:09

Radi se o francusko-flamanskom slikarstvu...


Slikarstvo kasne gotike karakteriše se odlikama opšte važećeg stila, smislom za anegdotu, ljubavlju prema prirodi i studijama životinja i bilja, jevljaju se težnje za osetljivošću i prefinjanošću.....

• 0Niko još nije pohvalio poruku.
  Registruj se da bi pohvalio/la poruku!

Delo bi trebalo da se zove Sagrešenje i izgon iz Raja ("The Fall and the Expulsion from Paradise"), i trebalo bi da ga je oslikao jedan od braće Limburg (a možda je i zajednički rad u pitanju). Tri brata (Herman, Paul i Johan) bili su čuveni slikari minijatura. Stvarali su početkom XV veka u Francuskoj i Burgundiji.
Radili su dela za svog patrona Džona, odnosno Žana, vojvodu od Berija. Ta "zbirka" izuzetnih i raskošnih minijatura poznata je po nazivu "Très Riches Heures du Duc de Berry" (Very Rich Hours of the Duke of Berry), i predstavlja verovatno najskupoceniju knjigu na svetu.
Citat:Herman, Paul, and Johan later in 1404 came to work for Jean de Berry, a brother of the dead Philip. He was an extravagant collector of arts and especially books. Their first assignment was to illuminate a Book of Hours, now known as the Belles Heures du Duc de Berry; it is preserved in The Cloisters of the Metropolitan Museum of Art in New York City.
This work was finished in 1409 much to the satisfaction of the duke, and he assigned them to an even more ambitious project for a Book of Hours. This became the Très Riches Heures du Duc de Berry, which is widely regarded as the peak of late medieval book illumination, and possibly the most valuable book in the world. It is kept as Ms.65 in the Musée Condé in Chantilly, France.
http://en.wikipedia.org/wiki/Limbourg_brothers

Nešto o samoj knjizi:
Citat:The Très Riches Heures du Duc de Berry or simply the Très Riches Heures (The Very Rich Hours of the Duke of Berry) is a richly decorated Book of Hours (containing prayers to be said by the lay faithful at each of the canonical hours of the day) commissioned by Jean, Duc de Berry around 1410. It is probably the most important illuminated manuscript of the 15th century, "le roi des manuscrits enluminés" ("the king of illuminated manuscripts"). The Très Riches Heures consists of 416 pages, including 131 with large miniatures and many more with border decorations or historiated initials, that are among the high points of International Gothic painting in spite of their small size. There are 300 decorated capital letters. The book was worked on, over a period of nearly a century, in three main campaigns, led by the Limbourg brothers, Barthélemy van Eyck, and Jean Colombe.
http://en.wikipedia.org/wiki/Tr%C3%A8s_Riches_Heures_du_Duc_de_Berry

I nešto o delu:
Citat:On the right-hand side we can see the temptation: Satan with an alluring face and hair, but with the lower part of a serpent, is handing over two golden apples to Eve, who has accepted one and is just taking the other. In the next scene Eve herself is the temptress: she hands over one apple to Adam, who looks like a nearly vanquished hero who resists to the last. One of his knees and one of his hands are already on the ground, he turns his body backwards and his arm is stretched out to receive the apple. Thus he evinces the effort he is making to resist temptation. In the third scene God the Father reproaches the couple. The lengthened rays of His halo seem to emphasize His words, while He is counting on His fingers the consequences of the sin. With his right hand Adam transfers the responsibility to Eve, who hides her sinful hand behind her back. And, finally, the casting out: an angel attired in fiery hues hustles Adam and Eve out of Paradise through a Gothic golden gate. They nostalgically look back upon the place of their happy and peaceful life. In front of them stretches the bleak and unknown world of bare mountains and awe-inspiring seas - indeed, the composition conveys to perfection the complete insecurity awaiting them.
http://www.tucoo.net/ART/museum/OtherART/ART_20060919213211_23211.html
http://www.doceo.co.uk/images/limbourgcreation.jpg