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Emile Galle. Émile Gallé

Автор: Émile Gallé

Аннотация: An icon in the Art Nouveau movement, Emile Galle (1846-1904) sought to portray the beauty and simplicity of nature in his glass art. His designs, referred to as “poetry in glass”, range from fine pottery to jewellery and furniture. Everything Galle produced contains traces of his masterful technique which reflects his innovativeness as an artist and his skill as a designer. In this rich text, Galle unravels the beauty and ingenuity found within his own work.
Произведение будет интересно читателям тематики «Наука и образование». Произведение можно загрузить на нашем сайте Онлайн магазина «Товары для дома». Так же у Вас есть возможность смотреть непосредственно на сайте частичный отрывок издания.


Издательство: Parkstone International Publishing

Год выпуска:

ISBN: 978-1-78310-293-8, 978-1-78525-028-6

Возрастное ограничение: 12+

Edgar Degas. Nathalia Brodskaya

Автор: Nathalia Brodskaya

Аннотация: Degas was closest to Renoir in the impressionist’s circle, for both favoured the animated Parisian life of their day as a motif in their paintings. Degas did not attend Gleyre’s studio; most likely he first met the future impressionists at the Cafe Guerbois. He started his apprenticeship in 1853 at the studio of Louis-Ernest Barrias and, beginning in 1854, studied under Louis Lamothe, who revered Ingres above all others, and transmitted his adoration for this master to Edgar Degas. Starting in 1854 Degas travelled frequently to Italy: first to Naples, where he made the acquaintance of his numerous cousins, and then to Rome and Florence, where he copied tirelessly from the Old Masters. His drawings and sketches already revealed very clear preferences: Raphael, Leonardo da Vinci, Michelangelo, and Mantegna, but also Benozzo Gozzoli, Ghirlandaio, Titian, Fra Angelico, Uccello, and Botticelli. During the 1860s and 1870s he became a painter of racecourses, horses and jockeys. His fabulous painter’s memory retained the particularities of movement of horses wherever he saw them. After his first rather complex compositions depicting racecourses, Degas learned the art of translating the nobility and elegance of horses, their nervous movements, and the formal beauty of their musculature. Around the middle of the 1860s Degas made yet another discovery. In 1866 he painted his first composition with ballet as a subject, Mademoiselle Fiocre dans le ballet de la Source (Mademoiselle Fiocre in the Ballet ‘The Spring’) (New York, Brooklyn Museum). Degas had always been a devotee of the theatre, but from now on it would become more and more the focus of his art. Degas’ first painting devoted solely to the ballet was Le Foyer de la danse a l’Opera de la rue Le Peletier (The Dancing Anteroom at the Opera on Rue Le Peletier) (Paris, Musee d’Orsay). In a carefully constructed composition, with groups of figures balancing one another to the left and the right, each ballet dancer is involved in her own activity, each one is moving in a separate manner from the others. Extended observation and an immense number of sketches were essential to executing such a task. This is why Degas moved from the theatre on to the rehearsal halls, where the dancers practised and took their lessons. This was how Degas arrived at the second sphere of that immediate, everyday life that was to interest him. The ballet would remain his passion until the end of his days.
Литературное произведение будет интересно читателям группы «Книги об искусстве». Литературное произведение можно получить на нашем ресурсе Онлайн магазина . Так же есть функция листать непосредственно на ресурсе выделенный отрывок печатного издания.


Издательство: Parkstone International Publishing

Год выпуска: 2016

ISBN: 978-1-78310-286-0

Возрастное ограничение: 0+

Valentin Serov. Dmitri V. Sarabianov

Автор: Dmitri V. Sarabianov

Аннотация: Among the “young peredvizhniki” who joined the World of Art group, the most brilliant portraitist was Valentin Serov. Like many of his contemporaries, he delighted in painting out of doors, and some of his most appealing portraits – such as Girl with Peaches, Girl in Sunlight and In Summer – owe their naturalness to their setting or to the interplay of sunlight and shadows. Indeed, Serov regarded them as “studies” rather than portraits, giving them descriptive titles that omitted the sitter's name. The subject of Girl with Peaches – painted when Serov was only twenty-two – was in fact Mamontov's daughter Vera. The model for In Summer was Serov's wife. When only six years old, Serov began to display signs of artistic talent. At nine years old, Repin acted as his teacher and mentor, giving him lessons in his studio in Paris, then let Serov work with him in Moscow, almost like an apprentice. Eventually Repin sent him to study with Pavel Chistiakov – the teacher of many of the World of Art painters, including Nesterov and Vrubel. Chistiakov was to become a close friend. Because Serov's career spanned such a long period, his style and subject matter vary considerably, ranging from voluptuous society portraits (the later ones notable for their grand style and sumptuous dresses) to sensitive studies of children. Utterly different from any of these is the famous nude study of the dancer Ida Rubinstein, in tempera and charcoal on canvas, which he painted towards the end of his life. Although Serov's early style has much in common with the French Impressionists, he did not become acquainted with their work until after he had painted pictures such as Girl with Peaches.
Издание будет интересно читателям жанра «Мемуары и биографии». Издание можно купить на ресурсе Интернет- магазина «Товары для дома» в Краснодаре. Так же Вы сможете просмотреть онлайн отрывок книги.


Издательство: Parkstone International Publishing

Год выпуска: 2016

ISBN: 978-1-78310-024-8

Возрастное ограничение: 0+

Michelangelo. Eugene Muntz

Автор: Eugene Muntz

Аннотация: Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelo's painting. All the emotions, all the passions, all the thoughts of humanity were personified in his eyes in the naked bodies of men and women. He rarely conceived his human forms in attitudes of immobility or repose. Michelangelo became a painter so that he could express in a more malleable material what his titanesque soul felt, what his sculptor's imagination saw, but what sculpture refused him. Thus this admirable sculptor became the creator, at the Vatican, of the most lyrical and epic decoration ever seen: the Sistine Chapel. The profusion of his invention is spread over this vast area of over 900 square metres. There are 343 principal figures of prodigious variety of expression, many of colossal size, and in addition a great number of subsidiary ones introduced for decorative effect. The creator of this vast scheme was only thirty-four when he began his work. Michelangelo compels us to enlarge our conception of what is beautiful. To the Greeks it was physical perfection; but Michelangelo cared little for physical beauty, except in a few instances, such as his painting of Adam on the Sistine ceiling, and his sculptures of the Pieta. Though a master of anatomy and of the laws of composition, he dared to disregard both if it were necessary to express his concept: to exaggerate the muscles of his figures, and even put them in positions the human body could not naturally assume. In his later painting, The Last Judgment on the end wall of the Sistine, he poured out his soul like a torrent. Michelangelo was the first to make the human form express a variety of emotions. In his hands emotion became an instrument upon which he played, extracting themes and harmonies of infinite variety. His figures carry our imagination far beyond the personal meaning of the names attached to them.
Книга заинтересует любителей жанра «Мемуары и биографии». Книгу можно купить на ресурсе Интернет- магазина «Товары для дома» в Краснодаре. Так же Вы сможете просмотреть онлайн отрывок книги.


Издательство: Parkstone International Publishing

Год выпуска: 2016

ISBN: 978-1-78310-023-1

Возрастное ограничение: 0+

Vincent van Gogh. Victoria Charles

Автор: Victoria Charles

Аннотация: Vincent van Gogh’s life and work are so intertwined that it is hardly possible to observe one without thinking of the other. Van Gogh has indeed become the incarnation of the suffering, misunderstood martyr of modern art, the emblem of the artist as an outsider. An article, published in 1890, gave details about van Gogh’s illness. The author of the article saw the painter as “a terrible and demented genius, often sublime, sometimes grotesque, always at the brink of the pathological.” Very little is known about Vincent’s childhood. At the age of eleven he had to leave “the human nest”, as he called it himself, for various boarding schools. The first portrait shows us van Gogh as an earnest nineteen year old. At that time he had already been at work for three years in The Hague and, later, in London in the gallery Goupil & Co. In 1874 his love for Ursula Loyer ended in disaster and a year later he was transferred to Paris, against his will. After a particularly heated argument during Christmas holidays in 1881, his father, a pastor, ordered Vincent to leave. With this final break, he abandoned his family name and signed his canvases simply “Vincent”. He left for Paris and never returned to Holland. In Paris he came to know Paul Gauguin, whose paintings he greatly admired. The self-portrait was the main subject of Vincent’s work from 1886c88. In February 1888 Vincent left Paris for Arles and tried to persuade Gauguin to join him. The months of waiting for Gauguin were the most productive time in van Gogh’s life. He wanted to show his friend as many pictures as possible and decorate the Yellow House. But Gauguin did not share his views on art and finally returned to Paris. On 7 January, 1889, fourteen days after his famous self-mutilation, Vincent left the hospital where he was convalescing. Although he hoped to recover from and to forget his madness, but he actually came back twice more in the same year. During his last stay in hospital, Vincent painted landscapes in which he recreated the world of his childhood. It is said that Vincent van Gogh shot himself in the side in a field but decided to return to the inn and went to bed. The landlord informed Dr Gachet and his brother Theo, who described the last moments of his life which ended on 29 July, 1890: “I wanted to die. While I was sitting next to him promising that we would try to heal him. […], he answered, ‘La tristesse durera toujours (The sadness will last forever).’”
Печатное издание заинтересует любителей тематики «Наука и образование». Печатное издание можно загрузить на нашем сайте Онлайн магазина «Товары для дома». Так же у Вас есть возможность смотреть непосредственно на сайте частичный отрывок издания.


Издательство: Parkstone International Publishing

Год выпуска: 2016

ISBN: 978-1-78310-285-3

Возрастное ограничение: 0+

Egon Schiele. Esther Selsdon

Автор: Esther Selsdon

Аннотация: Egon Schiele’s work is so distinctive that it resists categorisation. Admitted to the Vienna Academy of Fine Arts at just sixteen, he was an extraordinarily precocious artist, whose consummate skill in the manipulation of line, above all, lent a taut expressivity to all his work. Profoundly convinced of his own significance as an artist, Schiele achieved more in his abruptly curtailed youth than many other artists achieved in a full lifetime. His roots were in the Jugendstil of the Viennese Secession movement. Like a whole generation, he came under the overwhelming influence of Vienna’s most charismatic and celebrated artist, Gustav Klimt. In turn, Klimt recognised Schiele’s outstanding talent and supported the young artist, who within just a couple of years, was already breaking away from his mentor’s decorative sensuality. Beginning with an intense period of creativity around 1910, Schiele embarked on an unflinching expose of the human form – not the least his own – so penetrating that it is clear he was examining an anatomy more psychological, spiritual and emotional than physical. He painted many townscapes, landscapes, formal portraits and allegorical subjects, but it was his extremely candid works on paper, which are sometimes overtly erotic, together with his penchant for using under-age models that made Schiele vulnerable to censorious morality. In 1912, he was imprisoned on suspicion of a series of offences including kidnapping, rape and public immorality. The most serious charges (all but that of public immorality) were dropped, but Schiele spent around three despairing weeks in prison. Expressionist circles in Germany gave a lukewarm reception to Schiele’s work. His compatriot, Kokoschka, fared much better there. While he admired the Munich artists of Der Blaue Reiter, for example, they rebuffed him. Later, during the First World War, his work became better known and in 1916 he was featured in an issue of the left-wing, Berlin-based Expressionist magazine Die Aktion. Schiele was an acquired taste. From an early stage he was regarded as a genius. This won him the support of a small group of long-suffering collectors and admirers but, nonetheless, for several years of his life his finances were precarious. He was often in debt and sometimes he was forced to use cheap materials, painting on brown wrapping paper or cardboard instead of artists’ paper or canvas. It was only in 1918 that he enjoyed his first substantial public success in Vienna. Tragically, a short time later, he and his wife Edith were struck down by the massive influenza epidemic of 1918 that had just killed Klimt and millions of other victims, and they died within days of one another. Schiele was just twenty-eight years old.
Издание будет интересно любителям жанра «Иностранные языки». Издание можно скачать на ресурсе Интернет- магазина «Товары для дома» в Краснодаре. Так же Вы сможете читать в онлайн режиме отрывок книги.


Издательство: Parkstone International Publishing

Год выпуска: 2016

ISBN: 978-1-78310-284-6

Возрастное ограничение: 16+

Auguste Rodin. Rainer Maria Rilke

Автор: Rainer Maria Rilke

Аннотация: Influenced by the masters of Antiquity, the genius of Michelangelo and Baroque sculpture, particularly of Bernini, Auguste Rodin (1840-1917) is one of the most renowned artists in history. Though Rodin is considered a founder of modern sculpture, he did not set out to critique past classical traditions. Many of his sculptures were criticised and considered controversial because of their sensuality or hyperrealist qualities. His most original works departed from traditional themes of mythology and allegory, and embraced the human body, celebrating individualism and physicality. This book uncovers the life and career of this highly acclaimed artist by exploring his most famous works of art, such as the Gates of Hell, The Thinker and the infamous The Kiss.
Книга заинтересует любителей жанра «Иностранные языки». Книгу можно купить на ресурсе Интернет- магазина «Товары для дома» в Краснодаре. Так же Вы сможете просмотреть онлайн отрывок книги.


Издательство: Parkstone International Publishing

Год выпуска: 2016

ISBN: 978-1-78310-283-9

Возрастное ограничение: 0+

Ilya Repin. Grigori Sternin

Автор: Grigori Sternin

Аннотация: Ilya Repin was the most gifted of the group known in Russia as “The Itinerants”. When only twelve years old, he joined Ivan Bounakov’s studio to learn the icon-painter’s craft. Religious representations always remained of great importance for him. From 1864 to 1873 Repin studied at the Academy of the Arts in Saint Petersburg under Kramskoi. Repin also studied in Paris for two years, where he was strongly influenced by outdoor painting without, becoming an Impressionist, a style that he judged too distant from reality. Taken with French pictorial culture, he worked to understand its role in the evolution of contemporary art. Most of Repin’s powerful work deals with the social dilemmas of Russian life in the nineteenth century. He established his reputation in 1873 with the celebrated picture Barge Haulers on the Volga, symbol of the oppressed Russian people pulling their chains. This struggle against the autocracy inspired many works. He also painted Russia’s official history in such works as Ivan the Terrible Meditating at the Deathbed of his Son Ivan. Seen as one of the masters of realist painting, he devoted himself to portraying the lives of his contemporaries: the most renowned Russian writers, artists, and intellectuals; peasants at work; the faithful in procession; and revolutionaries on the barricades. He understood the pains of the people perfectly, as well as the needs and the joys of ordinary lives. Kramskoi said on this subject: “Repin has a gift for showing the peasant as he is. I know many painters who show the moujik, and they do it well, but none can do so with as much talent as Repin.”Repin’s works, which depart from the academic constraints of their predecessors, are both delicate and powerful. He achieved a superior mastery of skill, and found new accents to transcribe the many-coloured and brilliant vibrations he sensed in the ordinary world around him.
Литературное произведение будет интересно читателям жанра «Иностранные языки». Книгу можно купить на сайте Интернет- магазина «Товары для дома» в Краснодаре. Так же Вы сможете просмотреть онлайн фрагмент текста.


Издательство: Parkstone International Publishing

Год выпуска: 2016

ISBN: 978-1-78310-185-6

Возрастное ограничение: 0+

Hieronymus Bosch. Virginia Pitts Rembert

Автор: Virginia Pitts Rembert

Аннотация: Hieronymus Bosch was painting terrifying, yet strangely likeable, monsters, long before computer games were invented, often with a touch of humour. His works are assertive statements about the mental dangers that befall those who abandon the teachings of Christ. With a life that spanned from 1450 to 1516, Bosch was born at the height of the Renaissance and witnessed its wars of religion. Medieval traditions and values were crumbling, thrusting man into a new universe where faith had lost some of its power and much of its magic.
     Bosch set out to warn doubters of the perils awaiting all and any who lost their faith in God. Believing that everyone had to make their own moral choices, he focused on themes of hell, heaven and lust. He brilliantly exploited the symbolism of a wide range of fruits and plants to lend sexual overtones to his themes.
Литературное произведение будет интересно читателям группы «Наука и образование». Литературное произведение можно получить в нашем каталоге Онлайн магазина . Так же есть функция листать непосредственно на ресурсе заданный отрывок литературного издания.


Издательство: Parkstone International Publishing

Год выпуска: 2016

ISBN: 978-1-78310-025-5

Возрастное ограничение: 0+

Claude Monet. Nina Kalitina

Автор: Nina Kalitina

Аннотация: For Claude Monet the designation ‘impressionist’ always remained a source of pride. In spite of all the things critics have written about his work, Monet continued to be a true impressionist to the end of his very long life. He was so by deep conviction, and for his Impressionism he may have sacrificed many other opportunities that his enormous talent held out to him. Monet did not paint classical compositions with figures, and he did not become a portraitist, although his professional training included those skills. He chose a single genre for himself, landscape painting, and in that he achieved a degree of perfection none of his contemporaries managed to attain. Yet the little boy began by drawing caricatures. Boudin advised Monet to stop doing caricatures and to take up landscapes instead. The sea, the sky, animals, people, and trees are beautiful in the exact state in which nature created them – surrounded by air and light. Indeed, it was Boudin who passed on to Monet his conviction of the importance of working in the open air, which Monet would in turn transmit to his impressionist friends. Monet did not want to enrol at the Ecole des Beaux-Arts. He chose to attend a private school, L’Academie Suisse, established by an ex-model on the Quai d’Orfevres near the Pont Saint-Michel. One could draw and paint from a live model there for a modest fee. This was where Monet met the future impressionist Camille Pissarro. Later in Gleyre’s studio, Monet met Auguste Renoir Alfred Sisley, and Frederic Bazille. Monet considered it very important that Boudin be introduced to his new friends. He also told his friends of another painter he had found in Normandy. This was the remarkable Dutchman Jongkind. His landscapes were saturated with colour, and their sincerity, at times even their naivete, was combined with subtle observation of the Normandy shore’s variable nature. At this time Monet’s landscapes were not yet characterized by great richness of colour. Rather, they recalled the tonalities of paintings by the Barbizon artists, and Boudin’s seascapes. He composed a range of colour based on yellow-brown or blue-grey. At the Third Impressionist Exhibition in 1877 Monet presented a series of paintings for the first time: seven views of the Saint-Lazare train station. He selected them from among twelve he had painted at the station. This motif in Monet’s work is in line not only with Manet’s Chemin de fer (The Railway) and with his own landscapes featuring trains and stations at Argenteuil, but also with a trend that surfaced after the railways first began to appear. In 1883, Monet had bought a house in the village of Giverny, near the little town of Vernon. At Giverny, series painting became one of his chief working procedures. Meadows became his permanent workplace. When a journalist, who had come from Vetheuil to interview Monet, asked him where his studio was, the painter answered, “My studio! I’ve never had a studio, and I can’t see why one would lock oneself up in a room. To draw, yes – to paint, no”. Then, broadly gesturing towards the Seine, the hills, and the silhouette of the little town, he declared, “There’s my real studio.”Monet began to go to London in the last decade of the nineteenth century. He began all his London paintings working directly from nature, but completed many of them afterwards, at Giverny. The series formed an indivisible whole, and the painter had to work on all his canvases at one time. A friend of Monet’s, the writer Octave Mirbeau, wrote that he had accomplished a miracle. With the help of colours he had succeeded in recreating on the canvas something almost impossible to capture: he was reproducing sunlight, enriching it with an infinite number of reflections. Alone among the impressionists, Claude Monet took an almost scientific study of the possibilities of colour to its limits; it is unlikely that one could have gone any further in that direction.
Книга будет интересна читателям жанра «Иностранные языки». Книгу можно купить на сайте Интернет- магазина «Товары для дома» в Краснодаре. Так же Вы сможете просмотреть онлайн фрагмент текста.


Издательство: Parkstone International Publishing

Год выпуска: 2016

ISBN: 978-1-78310-184-9

Возрастное ограничение: 0+

Gustav Klimt. Patrick Bade

Автор: Patrick Bade

Аннотация: “I am not interested in myself as a subject for painting, but in others, particularly women…”Beautiful, sensuous and above all erotic, Gustav Klimt’s paintings speak of a world of opulence and leisure, which seems aeons away from the harsh, post-modern environment we live in now. The subjects he treats – allegories, portraits, landscapes and erotic figures – contain virtually no reference to external events, but strive rather to create a world where beauty, above everything else, is dominant. His use of colour and pattern was profoundly influenced by the art of Japan, ancient Egypt, and Byzantium. Ravenne, the flat, two-dimensional perspective of his paintings, and the frequently stylised quality of his images form an oeuvre imbued with a profound sensuality and one where the figure of woman, above all, reigns supreme. Klimt’s very first works brought him success at an unusually young age. Gustav, born in 1862, obtained a state grant to study at Kunstgewerbeschule (the Vienna School of Arts and Crafts) at the age of fourteen. His talents as a draughtsman and painter were quickly noticed, and in 1879 he formed the Kunstlercompagnie (Artists’ Company) with his brother Ernst and another student, Franz Matsch. The latter part of the nineteenth century was a period of great architectural activity in Vienna. In 1857, the Emperor Franz Joseph had ordered the destruction of the fortifications that had surrounded the medieval city centre. The Ringstrasse was the result, a budding new district with magnificent buildings and beautiful parks, all paid for by public expenses. Therefore the young Klimt and his partners had ample opportunities to show off their talents, and they received early commissions to contribute to the decorations for the pageant organised to celebrate the silver wedding anniversary of the Emperor Franz Joseph and the Empress Elisabeth. In 1894, Matsch moved out of their communal studio, and in 1897 Klimt, together with his closest friends, resigned from the Kunstlerhausgenossenschaft (the Cooperative Society of Austrian Artists) to form a new movement known as the Secession, of which he was immediately elected president. The Secession was a great success, holding both a first and second exhibition in 1898. The movement made enough money to commission its very own building, designed for it by the architect Joseph Maria Olbrich. Above the entrance was its motto: “To each age its art, to art its freedom.” From around 1897 onward, Klimt spent almost every summer on the Attersee with the Floge family. These were periods of peace and tranquillity in which he produced the landscape paintings constituting almost a quarter of his entire oeuvre. Klimt made sketches for virtually everything he did. Sometimes there were over a hundred drawings for one painting, each showing a different detail – a piece of clothing or jewellery, or a simple gesture. Just how exceptional Gustav Klimt was is perhaps reflected in the fact that he had no predecessors and no real followers. He admired Rodin and Whistler without slavishly copying them, and was admired in turn by the younger Viennese painters Egon Schiele and Oskar Kokoschka, both of whom were greatly influenced by Klimt.
Произведение заинтересует любителей группы «Наука и образование». Произведение можно получить на нашем ресурсе Онлайн магазина . Так же есть функция листать непосредственно на ресурсе выделенный отрывок печатного издания.


Издательство: Parkstone International Publishing

Год выпуска: 2016

ISBN: 978-1-78310-183-2

Возрастное ограничение: 0+

Michelangelo da Caravaggio. Felix Witting

Автор: Felix Witting

Аннотация: After staying in Milan for his apprenticeship, Michelangelo da Caravaggio arrived in Rome in 1592. There he started to paint with both realism and psychological analysis of the sitters. Caravaggio was as temperamental in his painting as in his wild life. As he also responded to prestigious Church commissions, his dramatic style and his realism were seen as unacceptable. Chiaroscuro had existed well before he came on the scene, but it was Caravaggio who made the technique definitive, darkening the shadows and transfixing the subject in a blinding shaft of light. His influence was immense, firstly through those who were more or less directly his disciples. Famous during his lifetime, Caravaggio had a great influence upon Baroque art. The Genoese and Neapolitan Schools derived lessons from him, and the great movement of Spanish painting in the seventeenth century was connected with these schools. In the following generations the best endowed painters oscillated between the lessons of Caravaggio and the Carracci.
Издание будет интересно любителям жанра «Иностранные языки». Издание можно скачать на ресурсе Интернет- магазина «Товары для дома» в Краснодаре. Так же Вы сможете читать в онлайн режиме отрывок книги.


Издательство: Parkstone International Publishing

Год выпуска: 2016

ISBN: 978-1-78310-027-9

Возрастное ограничение: 12+

Edward Hopper. Gerry Souter

Автор: Gerry Souter

Аннотация: In his works, Hopper poetically expressed the solitude of man confronted to the American way of life as it developed in the 1920s. Inspired by the movies and particularly by the various camera angles and attitudes of characters, his paintings expose the alienation of mass culture. Created using cold colours and inhabited by anonymous characters, Hopper’s paintings also symbolically reflect the Great Depression.
     Through a series of different reproductions (etchings, watercolours, and oil-on-canvas paintings), as well as thematic and artistic analysis, the author sheds new light on the enigmatic and tortured world of this outstanding figure.
Книга заинтересует любителей жанра «Иностранные языки». Книгу можно купить на ресурсе Интернет- магазина «Товары для дома» в Краснодаре. Так же Вы сможете просмотреть онлайн отрывок книги.


Издательство: Parkstone International Publishing

Год выпуска: 2016

ISBN: 978-1-78310-026-2

Возрастное ограничение: 0+

Valentin Serov. Dmitri V.  Sarabianov

Автор: Dmitri V. Sarabianov

Аннотация: Valentin Serov (Saint P?tersbourg 1865 – Moscou 1911) Parmi les «jeunes Ambulants » qui rejoignirent le Monde de l’Art, le portraitiste le plus brillant fut sans conteste Valentin Serov. Comme beaucoup de ses contemporains, il affectionnait la peinture de plein air, et certains de ses portraits les plus attrayants – Jeune Fille aux p?ches, Fillette dans la Lumi?re du Soleil ou En ?t? – doivent leur c?t? naturel au d?cor ou aux jeux d’ombres et de lumi?re. En r?alit?, Serov consid?rait ces oeuvres comme des ?tudes plut?t que des portraits, ce qui explique que le titre ne mentionne pas le nom du mod?le. On sait cependant que Jeune Fille aux p?ches est Vera, la fille du m?c?ne Mamontov. Et dans En ?t?, c’est l’?pouse de Serov elle-m?me qui est repr?sent?e. Serov fut un enfant pr?coce. Il commen?a ? montrer des dispositions artistiques d?s l’?ge de six ans. A neuf ans, il fut envoy? ? Paris chez R?pine, qui devint son professeur et son mentor. Quand R?pine revint en Russie, il emmena l’enfant avec lui et le fit travailler comme apprenti dans son atelier moscovite. Finalement, le ma?tre l’envoya chez un autre professeur, Pavel Chistiakov. Cet homme, qui forma nombre de peintres du Monde de l’Art, allait d’ailleurs devenir un de ses amis intimes. Etant donn? la longueur de la carri?re de Serov, on ne s’?tonnera gu?re de la diversit? de son style et de ses th?mes de pr?dilection : des peintures mondaines de la haute soci?t? (avec le style grandiose de leurs costumes) aux portraits tout en finesse de jeunes enfants. Radicalement diff?rente de toutes ses oeuvres, la fameuse ?tude de nu de la danseuse Ida Rubinstein, peinte sur toile ? la d?trempe et au fusain, date de la fin de sa vie. Les premiers tableaux de Serov rappellent le style des impressionnistes fran?ais.
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Издательство: Confidential Concepts, Inc.

Год выпуска:

ISBN: 978-1-78042-753-9

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Auguste Rodin. Rainer Maria Rilke

Автор: Rainer Maria Rilke

Аннотация: Tout ? la fois influenc? par les ma?tres de l’Antiquit?, le g?nie de Michel-Ange et la sculpture baroque, Auguste Rodin est l’un des artistes les plus reconnus de l’histoire. Bien qu’il soit consid?r? comme l’un des fondateurs de la sculpture moderne, Rodin n’a jamais critiqu? la tradition classique. Nombre de ses sculptures furent critiqu?es et controvers?es en raison de leur sensualit? ou de leur r?alit? crue. Ses ?uvres les plus originales se d?tachaient des traditionnels th?mes mythologiques ou all?goriques pour ?treindre le corps humain, c?l?brer l’individualisme et la mat?rialit?. Ce livre d?voile la vie et la carri?re de cet artiste en explorant ses ?uvres majeures telles que La Porte de l’Enfer, Le Penseur et le fameux Baiser.
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Издательство: Confidential Concepts, Inc.

Год выпуска:

ISBN: 978-1-78042-736-2

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Ilya R?pine. Grigori  Sternin

Автор: Grigori Sternin

Аннотация: Ilya R?pine (1844 Chuguyev –1930 Kuokkala) Ilya R?pine ?tait le plus dou? du groupe que l'on appelait en Russie «Les Ambulants ». D?s l'?ge de douze ans, il entre ? l'atelier d'Ivan Bounakov pour apprendre le m?tier de peintre d'ic?nes. La repr?sentation religieuse restera tr?s importante pour lui. Il ?tudie ensuite ? l'Acad?mie des Beaux-Arts de Saint-P?tersbourg de 1864 ? 1873 sous l'enseignement de Kramsko?. Il ?tudie deux ans ? Paris o? il sera fortement influenc? par la peinture en plein air, mais sans pour autant devenir impressionniste, style qu'il jugeait un peu trop ?loign? de la r?alit?. ?pris de culture picturale fran?aise, il s'effor?a de comprendre le r?le de celle-ci dans l'?volution de l'art contemporain. Entre 1874 et 1875, il expose au Salon de Paris et participe ? la Soci?t? des expositions artistiques ambulantes ? Saint-P?tersbourg.Un an plus tard, il obtient le grade d'acad?micien. La plupart des oeuvres puissantes de R?pine traitent des conflits sociaux dans la Russie du XIXe si?cle. Il assit sa r?putation en 1873 gr?ce ? son c?l?bre tableau Les Bateliers de la Volga, symbole du peuple russe opprim? tra?nant ses cha?nes. Cette lutte contre l'autocratie a inspir? bon nombre de ses oeuvres parmi lesquelles Confession et L'Arrestation du Propagandiste ou Ils ne l'attendaient pas. Il repr?senta ?galement l'histoire officielle de la Russie dans des oeuvres telles que Ivan le Terrible et son fils. Consid?r? comme un des ma?tres de la peinture r?aliste, il s'est attach? ? exprimer la vie de ses contemporains : ?crivains, artistes, intellectuels les plus en vue de Russie, paysans en plein travail, croyants en procession, r?volutionnaires sur les barricades. On compte ?galement beaucoup de portraits de ses proches : Toslto?, Gay. Il comprend parfaitement les peines du peuple, les besoins et les joies de la vie populaire, Kramsko? dira ? ce propos : «R?pine poss?de le don de repr?senter le paysan tel qu'il est. Je connais beaucoup de peintres qui repr?sentent le moujik, et ils le font bien, mais aucun ne sait le faire avec autant de talent que R?pine. » Ses tableaux, qui s'?loignent des contraintes acad?miques de ses pr?d?cesseurs, sont d?licats et offrent une plasticit? puissante. M?me dans ses natures mortes, il a atteint une ma?trise sup?rieure, trouv? de nouveaux accents pour transcrire la vibration color?e et brillante des aspects sensibles.
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Издательство: Confidential Concepts, Inc.

Год выпуска:

ISBN: 978-1-78042-734-8

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Ilya Repin. Grigori  Sternin

Автор: Grigori Sternin

Аннотация: Ilya Repin was the most gifted of the group known in Russia as “The Itinerants”. When only twelve years old, he joined Ivan Bounakov’s studio to learn the icon-painter’s craft. Religious representations always remained of great importance for him. From 1864 to 1873 Repin studied at the Academy of the Arts in Saint Petersburg under Kramsko?. Repin also studied in Paris for two years, where he was strongly influenced by outdoor painting without, becoming an Impressionist, a style that he judged too distant from reality. Taken with French pictorial culture, he worked to understand its role in the evolution of contemporary art. Most of Repin’s powerful work deals with the social dilemmas of Russian life in the nineteenth century. He established his reputation in 1873 with the celebrated picture Barge Haulers on the Volga, symbol of the oppressed Russian people pulling their chains. This struggle against the autocracy inspired many works. He also painted Russia’s official history in such works as Ivan the Terrible Meditating at the Deathbed of his Son Ivan. Seen as one of the masters of realist painting, he devoted himself to portraying the lives of his contemporaries: the most renowned Russian writers, artists, and intellectuals; peasants at work; the faithful in procession; and revolutionaries on the barricades. He understood the pains of the people perfectly, as well as the needs and the joys of ordinary lives. Kramsko? said on this subject: “Repin has a gift for showing the peasant as he is. I know many painters who show the moujik, and they do it well, but none can do so with as much talent as Repin.”Repin’s works, which depart from the academic constraints of their predecessors, are both delicate and powerful. He achieved a superior mastery of skill, and found new accents to transcribe the many-coloured and brilliant vibrations he sensed in the ordinary world around him.
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Издательство: Confidential Concepts, Inc.

Год выпуска:

ISBN: 978-1-78042-733-1

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Egon Schiele. Esther  Selsdon

Автор: Esther Selsdon

Аннотация: Egon Schiele’s work is so distinctive that it resists categorisation. Admitted to the Vienna Academy of Fine Arts at just sixteen, he was an extraordinarily precocious artist, whose consummate skill in the manipulation of line, above all, lent a taut expressivity to all his work. Profoundly convinced of his own significance as an artist, Schiele achieved more in his abruptly curtailed youth than many other artists achieved in a full lifetime. His roots were in the Jugendstil of the Viennese Secession movement. Like a whole generation, he came under the overwhelming influence of Vienna’s most charismatic and celebrated artist, Gustav Klimt. In turn, Klimt recognised Schiele’s outstanding talent and supported the young artist, who within just a couple of years, was already breaking away from his mentor’s decorative sensuality. Beginning with an intense period of creativity around 1910, Schiele embarked on an unflinching expos? of the human form – not the least his own – so penetrating that it is clear he was examining an anatomy more psychological, spiritual and emotional than physical. He painted many townscapes, landscapes, formal portraits and allegorical subjects, but it was his extremely candid works on paper, which are sometimes overtly erotic, together with his penchant for using under-age models that made Schiele vulnerable to censorious morality. In 1912, he was imprisoned on suspicion of a series of offences including kidnapping, rape and public immorality. The most serious charges (all but that of public immorality) were dropped, but Schiele spent around three despairing weeks in prison. Expressionist circles in Germany gave a lukewarm reception to Schiele’s work. His compatriot, Kokoschka, fared much better there. While he admired the Munich artists of Der Blaue Reiter, for example, they rebuffed him. Later, during the First World War, his work became better known and in 1916 he was featured in an issue of the left-wing, Berlin-based Expressionist magazine Die Aktion. Schiele was an acquired taste. From an early stage he was regarded as a genius. This won him the support of a small group of long-suffering collectors and admirers but, nonetheless, for several years of his life his finances were precarious. He was often in debt and sometimes he was forced to use cheap materials, painting on brown wrapping paper or cardboard instead of artists’ paper or canvas. It was only in 1918 that he enjoyed his first substantial public success in Vienna. Tragically, a short time later, he and his wife Edith were struck down by the massive influenza epidemic of 1918 that had just killed Klimt and millions of other victims, and they died within days of one another. Schiele was just twenty-eight years old.
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Издательство: Confidential Concepts, Inc.

Год выпуска:

ISBN: 978-1-78042-737-9

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Emile Galle. Emile  Galle

Автор: Emile Galle

Аннотация: An icon in the Art Nouveau movement, ?mile Gall? (1846-1904) sought to portray the beauty and simplicity of nature in his glass art. His designs, referred to as “poetry in glass”, range from fine pottery to jewellery and furniture. Everything Gall? produced contains traces of his masterful technique which reflects his innovativeness as an artist and his skill as a designer. In this rich text, Gall? unravels the beauty and ingenuity found within his own work.
Книга заинтересует любителей жанра «Изобразительное искусство и фотография». Книгу можно купить на сайте Интернет- магазина «Товары для дома» в Краснодаре. Так же Вы сможете просмотреть онлайн фрагмент текста.


Издательство: Confidential Concepts, Inc.

Год выпуска: 214

ISBN: 978-1-78525-028-6

Возрастное ограничение: 12+

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