Музей ЧерномырдинаМизантроп (картина). Картина мизантроп
Мизантроп (картина) — Википедия
Материал из Википедии — свободной энциклопедии
У этого термина существуют и другие значения, см. Мизантроп.«Мизантроп» — картина Питера Брейгеля Старшего. Написана в 1568 году темперой по холсту. Хранится в Национальной галерее Каподимонте в Неаполе.
Одна из последних картин художника, написана за год до смерти. В ней, как и в многих других своих произведениях, Брейгель размышляет о человеческих пороках и бренности человеческой жизни. На картине изображён молодой злобный карлик, крадущий кошелёк у мрачного старика. Карлик вписан в сферу с крестом — это символическое изображение порочного мира. Старик в низко надвинутом на лицо капюшоне занимает доминирующее положение. Кисти рук сложены в молитвенном жесте, который должен свидетельствовать о благочестивом характере персонажа. Однако благочестие оказывается лицемерным: позади из-под длинного чёрного плаща высовывается туго набитый кошелек красного цвета в форме сердца. Возможно, здесь Брейгель опирается на сентенцию «Где кошелёк, там и сердце», восходящую к Евангельскому тексту.
Фраза на нидерландском языке, размещенная в нижней части картины, гласит: «Так как мир столь коварен, я ношу траур». Буквы нанесены посторонней рукой и возможно, в более позднее время, однако считается, что смысл этой надписи совпадает с тем, что хотел показать художник.
Как бы мизантроп не хотел отрешиться от мира, он не может этого сделать. Коварство мира символизирует не только карлик-воришка, но и три ловушки-чеснока, которые разложены по пути следования мизантропа. Угрюмый мизантроп контрастирует с пастухом, охраняющим овец на заднем плане и преисполненным заботы о своих подопечных. По традиции, идущей ещё от Ветхого Завета, в образе пастуха аллегорически изображался Христос.
Круглая форма картины нетипична для Брейгеля. Если судить по дошедшим до нас работам, он использовал её всего дважды. В 1558 году во время подготовительных работ к картине «Фламандские пословицы» и в этой работе десятью годами спустя. Здесь он возвращается также к оставленной технике — пишет не маслом по дереву, а темперой по холсту.
Фрагменты картины
Мизантроп (картина) - WikiVisually
1. Брейгель, Питер (Старший) – He also painted no portraits, the other mainstay of Netherlandish art. After his training and travels to Italy, he returned in 1555 to settle in Antwerp and he does the same with the fantastic and anarchic world developed in Renaissance prints and book illustrations. He is sometimes referred to as Peasant Bruegel, to him from the many later painters in his family. From 1559, he dropped the h from his name and signed his paintings as Bruegel, the two main early sources for Bruegels biography are Lodovico Guicciardinis account of the Low Countries and Karel van Manders 1604 Schilder-boeck. Guicciardini recorded that Bruegel was born in Breda, but van Mander specified that Bruegel was born in a village near Breda called Brueghel, nothing at all is known of his family background. Van Mander seems to assume he came from a peasant background, in keeping with the over-emphasis on Bruegels peasant genre scenes given by van Mander and many art historians. Breda was already a significant centre as the base of the House of Orange-Nassau, with a population of some 8,000, from the fact that Bruegel entered the Antwerp painters guild in 1551, it is inferred that he was born between 1525 and 1530. His master, according to van Mander, was the Antwerp painter Pieter Coecke van Aelst, between 1545 and 1550 he was a pupil of Pieter Coecke, who died on 6 December 1550. Bruegel possibly got this work via the connections of Mayken Verhulst, maykens father and eight siblings were all artists or married an artist, and lived in Mechelen. In 1551 Bruegel became a master in the Guild of Saint Luke of Antwerp. He set off for Italy soon after, probably by way of France. He visited Rome and, rather adventurously for the period, by 1552 he had reached Reggio Calabria at the tip of the mainland. He probably continued to Sicily, but by 1553 was back in Rome, there he met the miniaturist Giulio Clovio, whose will of 1578 lists paintings by Bruegel, in one case a joint work. These works, apparently landscapes, have not survived, but marginal miniatures in manuscripts by Clovio are attributed to Bruegel, with one exception, Bruegel did not work the plates himself, but produced a drawing which Cocks specialists worked from. In 1563 he was married in Brussels, where he lived for the rest of his life, while Antwerp was the capital of Netherlandish commerce as well as the art market, Brussels was the centre of government. Van Mander tells a story that his mother-in-law pushed for the move to him from his established servant girl mistress. By now painting had become his main activity, and his most famous come from these years. His paintings were sought after, with patrons including wealthy Flemish collectors and Cardinal Granvelle, in effect the Habsburg chief minister
2. Холст – Canvas is an extremely durable plain-woven fabric used for making sails, tents, marquees, backpacks, and other items for which sturdiness is required. It is also used by artists as a painting surface. It is also used in such objects as handbags, electronic device cases. The word canvas is derived from the 13th century Anglo-French canevaz, both may be derivatives of the Vulgar Latin cannapaceus for made of hemp, originating from the Greek κάνναβις. Modern canvas is made of cotton or linen, although. It differs from other cotton fabrics, such as denim. Canvas comes in two types, plain and duck. The threads in duck canvas are more tightly woven, the term duck comes from the Dutch word for cloth, doek. In the United States, canvas is classified in two ways, by weight and by a number system. The numbers run in reverse of the weight so a number 10 canvas is lighter than number 4, canvas has become the most common support medium for oil painting, replacing wooden panels. One of the earliest surviving oils on canvas is a French Madonna with angels from around 1410 in the Gemäldegalerie, however, panel painting remained more common until the 16th century in Italy and the 17th century in Northern Europe. Mantegna and Venetian artists were among those leading the change, Venetian sail canvas was readily available, as lead-based paint is poisonous, care has to be taken in using it. Early canvas was made of linen, a sturdy brownish fabric of considerable strength, linen is particularly suitable for the use of oil paint. In the early 20th century, cotton canvas, often referred to as cotton duck, linen is composed of higher quality material, and remains popular with many professional artists, especially those who work with oil paint. Cotton duck, which stretches more fully and has an even, mechanical weave, the advent of acrylic paint has greatly increased the popularity and use of cotton duck canvas. Linen and cotton derive from two different plants, the flax plant and the cotton plant, respectively. Gessoed canvases on stretchers are also available and they are available in a variety of weights, light-weight is about 4 oz or 5 oz, medium-weight is about 7 oz or 8 oz, heavy-weight is about 10 oz or 12 oz. They are prepared with two or three coats of gesso and are ready for use straight away, artists desiring greater control of their painting surface may add a coat or two of their preferred gesso
3. Темпера – Tempera, also known as egg tempera, is a permanent, fast-drying painting medium consisting of colored pigments mixed with a water-soluble binder medium. Tempera also refers to the paintings done in this medium, Tempera paintings are very long lasting, and examples from the 1st centuries AD still exist. Egg tempera was a method of painting until after 1500 when it was superseded by the invention of oil painting. Tempera painting has been found on early Egyptian sarcophagi decorations, many of the Fayum mummy portraits use tempera, sometimes in combination with encaustic. A related technique has been used also in ancient and early medieval paintings found in several caves, high-quality art with the help of tempera was created in Bagh Caves between the late 4th and 10th centuries AD and in the 7th century AD in Ravan Chhaya rock shelter, Orissa. Tempera painting was the panel painting medium for nearly every painter in the European Medieval. For example, every surviving panel painting by Michelangelo is egg tempera, oil paint, which may have originated in Afghanistan between the 5th and 9th centuries and migrated westward in the Middle Ages eventually superseded tempera. Oil replaced tempera as the medium used for creating artwork during the 15th century in Early Netherlandish painting in northern Europe. Around 1500, oil paint replaced tempera in Italy, in the 19th and 20th centuries, there were intermittent revivals of tempera technique in Western art, among the Pre-Raphaelites, Social Realists, and others. Tempera painting continues to be used in Greece and Russia where it is the medium for Orthodox icons. Tempera is traditionally created by hand-grinding dry powdered pigments into an agent or medium, such as egg, glue, honey, water, milk. Tempera painting starts with placing an amount of the powdered pigment onto a palette, dish or bowl and adding about an equal volume of the binder. Some pigments require slightly more binder, some require less, a few drops of distilled water are added, then the binder is added in small increments to the desired transparency. The more egg emulsion, the more transparent the paint, the most common form of classical tempera painting is egg tempera. For this form most often only the contents of the egg yolk is used, the white of the egg and the membrane of the yolk are discarded. Egg yolk is never used by itself with pigment, it dries almost immediately, some agent is always added, in variable proportions. One recipe calls for vinegar, other recipes suggest white wine, some schools of egg tempera use various mixtures of egg yolk and water. The paint mixture has to be adjusted to maintain a balance between a greasy and watery consistency by adjusting the amount of water and yolk
4. Музей Каподимонте – Museo di Capodimonte is an art museum located in the Palace of Capodimonte, a grand Bourbon palazzo in Naples, Italy. The museum is the repository of Neapolitan painting and decorative art, with several important works from other Italian schools of painting. It is one of the largest museums in Italy, the vast collection at the museum traces its origins back to 1738. Over the years the palace was enlarged and filled with more art, in 1787, on the advice of Jacob Philipp Hackert, a laboratory for the restoration of paintings was created. When the Parthenopaean Republic was declared in 1799, Ferdinand fled to Palermo on board Nelsons Vanguard, what remained was looted by the French troops of General Championnet who were billeted there during the short life of the Republic in 1799. Later on during the ten years of French reoccupation, the art collection was transferred to the Naples National Archaeological Museum, when King Ferdinand returned from Sicily in 1815, he employed many painters and sculptors to work on the redecoration of the palace. It was finally completed in 1840, and a gallery housing contemporary art was added, after the palace passed in 1861 to the House of Savoy, further pieces were added to the art collections, appointing Domenico Morelli as consultant for new acquisitions. They also added a collection of historic firearms and other weapons. In 1866, the boudoir of Maria Amalia of Saxony was transferred to Capodimonte from the Palace of Portici, after the end of the monarchy, the palace became purely a national museum in 1950, with many of the exhibits being returned from the National Museum. Elsewhere in the palace the royal apartments are furnished with antique 18th-century furniture, le Guide di Dove - Campania, Corriere della sera,2007. Il Museo di Capodimonte, valori di Napoli, Pubblicomit,2002
5. Неаполь – Naples is the capital of the Italian region Campania and the third-largest municipality in Italy, after Rome and Milan. In 2015, around 975,260 people lived within the administrative limits. The Metropolitan City of Naples had a population of 3,115,320, Naples is the 9th-most populous urban area in the European Union with a population of between 3 million and 3.7 million. About 4.4 million people live in the Naples metropolitan area, Naples is one of the oldest continuously inhabited cities in the world. Bronze Age Greek settlements were established in the Naples area in the second millennium BC, a larger colony – initially known as Parthenope, Παρθενόπη – developed on the Island of Megaride around the ninth century BC, at the end of the Greek Dark Ages. Naples remained influential after the fall of the Western Roman Empire, thereafter, in union with Sicily, it became the capital of the Two Sicilies until the unification of Italy in 1861. Naples was the most-bombed Italian city during World War II, much of the citys 20th-century periphery was constructed under Benito Mussolinis fascist government, and during reconstruction efforts after World War II. The city has experienced significant economic growth in recent decades, and unemployment levels in the city, however, Naples still suffers from political and economic corruption, and unemployment levels remain high. Naples has the fourth-largest urban economy in Italy, after Milan, Rome and it is the worlds 103rd-richest city by purchasing power, with an estimated 2011 GDP of US$83.6 billion. The port of Naples is one of the most important in Europe, numerous major Italian companies, such as MSC Cruises Italy S. p. A, are headquartered in Naples. The city also hosts NATOs Allied Joint Force Command Naples, the SRM Institution for Economic Research, Naples is a full member of the Eurocities network of European cities. The city was selected to become the headquarters of the European institution ACP/UE and was named a City of Literature by UNESCOs Creative Cities Network, the Villa Rosebery, one of the three official residences of the President of Italy, is located in the citys Posillipo district. Naples historic city centre is the largest in Europe, covering 1,700 hectares and enclosing 27 centuries of history, Naples has long been a major cultural centre with a global sphere of influence, particularly during the Renaissance and Enlightenment eras. In the immediate vicinity of Naples are numerous culturally and historically significant sites, including the Palace of Caserta, culinarily, Naples is synonymous with pizza, which originated in the city. Neapolitan music has furthermore been highly influential, credited with the invention of the romantic guitar, according to CNN, the metro stop Toledo is the most beautiful in Europe and it won also the LEAF Award 2013 as Public building of the year. Naples is the Italian city with the highest number of accredited stars from the Michelin Guide, Naples sports scene is dominated by football and Serie A club S. S. C. Napoli, two-time Italian champions and winner of European trophies, who play at the San Paolo Stadium in the south-west of the city, the Phlegraean Fields around Naples has been inhabited since the Neolithic period. The earliest Greek settlements were established in the Naples area in the second millennium BC, sailors from the Greek island of Rhodes established a small commercial port called Parthenope on the island of Megaride in the ninth century BC
6. Чеснок (противоконное заграждение) – A caltrop is an antipersonnel weapon made up of two or more sharp nails or spines arranged in such a manner that one of them always points upward from a stable base. Caltrops were part of defenses that served to slow the advance of horses, war elephants and they were particularly effective against the soft feet of camels. In more modern times, caltrops are still effective when used against wheeled vehicles with pneumatic tires, the modern name caltrop is derived from the Latin calcitrapa, such as in the French usage chausse-trape. The synonymous Latin word tribulus gave rise to the modern Latin name of a plant, Tribulus terrestris, whose spiked seed case can injure feet and this plant can also be compared to the starthistle, Centaurea calcitrapa, which is sometimes referred to as the caltrop. A water plant with similarly-shaped spiked seeds is called the water caltrop, according to Quintus Curtius, iron caltrops were used as early as 331 BC by Darius III against Alexander the Great at the Battle of Gaugamela in Persia. They were known to the Romans as tribulus or sometimes as murex ferreus and they were also used in the Battle of Carrhae in 53 BC. As a chariot of this sort does not always meet with plain and level ground, and if one of the horses be either killed or wounded, it falls into the enemys hands. A caltrop is a composed of four spikes or points arranged so that in whatever manner it is thrown on the ground. It amounts to a widely spread iron tripod about three inches long with another leg sticking vertically upward, so that however you throw it down, there is no doubt that the most inscrutable Indian treading on a caltrop would be shocked into noisy comment. The fact that one has been found would seem to suggest that they were used little. The Japanese version of the caltrop is called makibishi, makibishi were sharp spiked objects that were used in feudal Japan to slow pursuers and also were used in the defence of samurai fortifications. Iron makibishi were called tetsubishi, while the makibishi made from the seed pod of the water chestnut. Both types of makibishi could penetrate the thin soles of shoes, such as the waraji sandals, punji sticks perform a similar role to caltrops. These are sharpened sticks placed vertically in the ground and their use in modern times targets the body and limbs of a falling victim by means of a pit or tripwire. During the Second World War, large caltrop-shaped objects made from reinforced concrete were used as anti-tank devices, much more common were concrete devices called dragons teeth, which were designed to wedge into tank treads. Large ones weighing over 1 tonne are still used defensively by the army to deny access to wheeled vehicles, as dragons teeth are immobile, the analogy with the caltrop is inexact. These were used by the Germans to defend beaches at Normandy, tetrapods are concrete blocks shaped like caltrops, which interlock when piled up. They are used in the construction of breakwaters and other sea defences, as they have found to let the water pass through them
7. Фламандские пословицы – Running themes in Bruegels paintings are the absurdity, wickedness and foolishness of humans, and this is no exception. The paintings original title, The Blue Cloak or The Folly of the World, indicates that Bruegels intent was not just to illustrate proverbs, many of the people depicted show the characteristic blank features that Bruegel used to portray fools. His son, Pieter Brueghel the Younger, specialised in making copies of his fathers work, not all versions of the painting, by father or son, show exactly the same proverbs and they also differ in other minor details. Proverbs were very popular in Bruegels time and before, a hundred years before Bruegels painting, a number of collections were published, including Adagia, by the Dutch humanist Desiderius Erasmus. The French writer François Rabelais employed significant numbers in his novel Gargantua and Pantagruel, the Flemish artist Frans Hogenberg made an engraving illustrating 43 proverbs in around 1558, roughly the same time as Bruegels painting. The work is similar in composition to Bruegels and includes certain proverbs which also feature prominently in Netherlandish Proverbs. By depicting literal renditions of proverbs in a peasant setting, both artists have shown a world turned upside down, critics have praised the composition for its ordered portrayal and integrated scene. There are approximately 112 identifiable proverbs and idioms in the scene, many more have faded from use or have never been used in English. Having ones roof tiled with tarts, for example, which meant to have an abundance of everything and was an image Bruegel would later feature in his painting of the idyllic Land of Cockaigne. The Blue Cloak, the original title, features in the centre of the piece and is being placed on a man by his wife. A man fills in a pond after his calf has died, just above the central figure of the blue-cloaked man another man carries daylight in a basket. Some of the figures seem to represent more than one figure of speech, such as the man shearing a sheep in the bottom left of the picture. This painting has inspired others to depict multiple proverbs in their paintings, an illustration from the Hong Kong magazine Passion Times illustrates dozens of Cantonese proverbs. The painting Proverbidioms was also inspired by this Dutch painting to depict English proverbs, hagen, Rose-Marie, ed. Bruegel, The Complete Paintings. How to Read a Painting, Lessons from the Old Masters, the Netherlandish Proverbs by Pieter Brueghel the Younger. The Netherlandish Proverbs, An International Symposium on the Pieter Bruegels, orenstein, Nadine M. Pieter Bruegel the Elder, Drawings and Prints
8. Безумная Грета (картина) – Dulle Griet, also known as Mad Meg, is a figure of Flemish folklore who is the subject of a 1562 oil-on-panel by Flemish renaissance artist Pieter Bruegel the Elder. The painting depicts a virago, Dulle Griet, who leads an army of women to pillage Hell, like those pictures, Dulle Griet owes much to Hieronymus Bosch. Bruegels earliest biographer, Karel van Mander, writing in 1604, described the painting as Dulle Griet and it came into the collections of Rudolf II, Holy Roman Emperor, then was looted by the Swedish troops in 1648, and reappeared in Stockholm in 1800. Art collector Fritz Mayer van den Bergh discovered it in 1897 at an auction in Cologne, Griet was a disparaging name given to any bad-tempered, shrewish woman. Her mission refers to the Flemish proverb, She could plunder in front of hell, Bruegel is thus making fun of noisy, aggressive women. Dulle Griet appears as a character in Caryl Churchills play Top Girls, I come out my front door that morning and shout till my neighbors come out and I said, Come on, were going where the evil come from and pay the bastards out. Griet wears male armour — a breastplate, a glove and a metal cap, her military costume is parodied by the monster in a helmet beside her. A knife hangs from her side, while in her right she carries a sword, the pigment analysis was conducted by the scientists at the Ghent University. Bruegel used the cheap smalt for the robe of the figure of Mad Meg instead of the more expensive ultramarine together with vermilion. This article incorporates text from a now in the public domain, Chisholm, Hugh. Dulle Griet at the Museum Mayer van den Bergh Bosch Bruegel Society 99 works by Pieter Bruegel the Elder Creative Bruegel laid the foundation of the Netherlands School Bruegel, Pieter Bruegel the Elder, Mad Meg, ColourLex
9. Падение Икара – Landscape with the Fall of Icarus is a painting in oil on canvas measuring 73.5 by 112 centimetres in the Royal Museums of Fine Arts of Belgium in Brussels. It was long thought to be by the painter of Dutch and Flemish Renaissance painting. According to the museum, It is doubtful the execution is by Breugel the Elder, largely derived from Ovid, the painting is described in W. H. In Greek mythology, Icarus succeeded in flying, with wings made by his father Daedalus, ignoring his fathers warnings, Icarus chose to fly too close to the sun, melting the wax, and fell into the sea and drowned. His legs can be seen in the water just below the ship, the sun, already half-set on the horizon, is a long way away, the flight did not reach anywhere near it. Daedalus does not appear in this version of the painting, though he does, still flying, there is also a Flemish proverb, And the farmer continued to plough. Pointing out the ignorance of people to fellow mens suffering, the painting may, as Audens poem suggests, depict humankinds indifference to suffering by highlighting the ordinary events which continue to occur, despite the unobserved death of Icarus. Giving more prominence to low subject-matter than high in the work is a feature of some Northern Mannerist art. The traditional moral of the Icarus story, warning against excessive ambition, is reinforced by fore-grounding humbler figures who appear content to fill useful agricultural roles in life, the painting is probably a version of a lost original by Bruegel. A date of c.1558 has been suggested for the lost original, based on Bruegels other works and it is in oils whereas Bruegels other paintings on canvas are in tempera. The original would have been Bruegels only known painting of a mythological subject, the perspective of the ship and figures is not entirely consistent, although this may enhance the power of the composition. Bruegel also produced a design for an engraving with the ship, in 1963, Philippe Roberts-Jones, curator at the museum, and the Bruegel specialist Georges Marlier, hypothesized that an original panel painting had been later moved onto canvas, as was once common. As mentioned here above, the conclusion of this dating was that P. Bruegel the Elder cannot have painted on this canvas, later, in 2006, Prof. J. Reisse challenged this dating on technical grounds. From bottom to top, Canvas, Oily lead white, Thick oily layer with azurite, Chalk ground, Oily lead white with scarce particles of charcoal, Oily blue with azurite, with layers 4 to 6 being original. The presence of ground under the original blue proves that this is a panel painting transposed on a canvas. The original blue layer is white with azurite containing a few grains of ochre. These structure and composition match perfectly those found on other certified panels of Peter Bruegel, moreover, it is noticeable that the wood charcoal particles are very peculiar, being very long and acicular, exactly the same as those found only in The Census from the same Museum. Recently, a study of the underdrawing using infrared reflectography has been published, reflectography is based on the fact that the infrared light penetrates all colors except black
10. Триумф смерти (картина) – The Triumph of Death is an oil panel painting by Pieter Bruegel the Elder painted c. It has been in the Museo del Prado in Madrid since 1827, the painting shows a panorama of an army of skeletons wreaking havoc across a blackened, desolate landscape. Fires burn in the distance, and the sea is littered with shipwrecks, a few leafless trees stud hills otherwise bare of vegetation, fish lie rotting on the shores of a corpse-choked pond. Art historian James Snyder emphasizes the scorched, barren earth, devoid of any life as far as the eye can see, in this setting, legions of skeletons advance on the living, who either flee in terror or try in vain to fight back. In the foreground, skeletons haul a wagon full of skulls, in the left corner. A fool plays the lute while a lady sings, behind both of them a skeleton plays along, a starving dog nibbles at the face of a child, a cross sits in the center of the painting. People are herded into a coffin shaped trap decorated with crosses, the painting depicts people of different social backgrounds – from peasants and soldiers to nobles as well as a king and a cardinal – being taken by death indiscriminately. A skeleton parodies human happiness by playing a hurdy-gurdy while the wheels of his crush a man. A woman has fallen in the path of the cart, she holds in her hand a spindle and distaff. Near by another woman in the part of the cart has a thread which is about to be cut by the scissors in her other hand. Just below her a cardinal is helped towards his fate by a skeleton who wears the red hat. In one detail, a dinner has been broken up and the diners are putting up a futile resistance and they have drawn their swords in order to fight the skeletons dressed in winding-sheets, no less hopelessly, the jester takes refuge beneath the dinner table. The backgammon board and the cards have been scattered, while a skeleton thinly disguised with a mask empties away the wine flasks. Above, a woman is being embraced by a skeleton in a parody of after-dinner amorousness. Of the menu of the meal, all that can be seen are a few pallid rolls of bread. As the fighting breaks out, a skeleton in a hooded robe mockingly seems to bring another dish, also consisting of human bones, the painting shows aspects of everyday life in the mid-sixteenth century. Clothes are clearly depicted, as are such as playing cards. In one scene a human is the prey of a skeleton-hunter, in another scene a man with a grinding stone around his neck is about to be thrown into the pond
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Две притчи Питера Брейгеля о «лицемерной добродетели»
Две картины великого нидерландского живописца Питера Брейгеля (1527–1569), написанные им в 1568 г. – «Мизантроп» (но не тот, о котором писал позднее Мольер) и «Разоритель гнезд» – обличают, как полагают, «лицемерную добродетель»: склонность человека надменно указывать на чужие пороки, при этом не замечая собственных. Вот что пишет об этих картинах Н.М. Гершензон-Чегодаева в своей книге «Брейгель» (Москва: «Искусство», 1983, с.247–248): «Работая в последние годы своей жизни над произведениями, всецело посвященными …теме судьбы человечества, Брейгель … нашел новые формы, адекватные осознанным им в это время по-новому, связанным с этой темой идеям. (…)valya-15.livejournal.com
Описание картины Питера Брейгеля «Мизантроп» Картины художников
Описание картины Питера Брейгеля «Мизантроп»
Ответ:
Самый известный нидерландский живописец и график XVI века предпочитал больше писать жанровые сцены, созданные из мироощущения и настроения народа в период буржуазной революции.От написания сатирических рисунков, он перешёл к более серьёзным и сдержанным по смысловой нагрузке картинам с целостным сюжетом.Мощные жизненные силы, неиссякаемое жизнелюбие и достоинство народа художник отображает на многих своих полотнах. Огромный отпечаток, с сочетанием трагизма и скорби, на его творчестве отложил испанский терро в нидерландских деревнях.Брейгель всегда размышлял о людских греха и глупостях, а также бренности жизни человека.На картине «Мизантроп» художник изобразил злого на жизнь карлика, который крадёт кошелёк у идущего угрюмого старика. Картина наполнена тёмной иронией и сарказмом, однако,
что именно хотел выразить Брейгель – до сих пор не ясно. Но с другой стороны, можно расценивать картину, как указание автора на лицемерную добродетель старика, который кидает несчастному кошелёк, не делая тем самым добро, а указывает тем самым на пороки карлика, хотя сам он не замечает своих изъянов.Безусловно, главную роль в этом сюжете играет лицемерный старик монах, одетый в черную рясу, медленно шагающий по своей «жизненной дороге». Также видно его красный кошелёк, который полностью заполнен деньгами. Этот кошелёк пытается украсть оборванец, находящийся окруженный символическим шаром, символизирующий мир.Вдалеке виднеется фигура Доброго Пастыря, который вывел на прогулку отару овец. Этой сценой художник показывает зрителю смысл добра и зла в жизни людей, сопоставляют происходящее на заднем и переднем фонах.
Прислал: Суханова Анна . 2017-10-08 21:50:36
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Мизантроп (картина) - Gpedia, Your Encyclopedia
У этого термина существуют и другие значения, см. Мизантроп.«Мизантроп» — картина Питера Брейгеля Старшего. Написана в 1568 году темперой по холсту. Хранится в Национальной галерее Каподимонте в Неаполе.
Описание
Одна из последних картин художника, написана за год до смерти. В ней, как и в многих других своих произведениях, Брейгель размышляет о человеческих пороках и бренности человеческой жизни. На картине изображён молодой злобный карлик, крадущий кошелёк у мрачного старика. Карлик вписан в сферу с крестом — это символическое изображение порочного мира. Старик в низко надвинутом на лицо капюшоне занимает доминирующее положение. Кисти рук сложены в молитвенном жесте, который должен свидетельствовать о благочестивом характере персонажа. Однако благочестие оказывается лицемерным: позади из-под длинного чёрного плаща высовывается туго набитый кошелек красного цвета в форме сердца. Возможно, здесь Брейгель опирается на сентенцию «Где кошелёк, там и сердце», восходящую к Евангельскому тексту.
Фраза на нидерландском языке, размещенная в нижней части картины, гласит: «Так как мир столь коварен, я ношу траур». Буквы нанесены посторонней рукой и возможно, в более позднее время, однако считается, что смысл этой надписи совпадает с тем, что хотел показать художник.
Как бы мизантроп не хотел отрешиться от мира, он не может этого сделать. Коварство мира символизирует не только карлик-воришка, но и три ловушки-чеснока, которые разложены по пути следования мизантропа. Угрюмый мизантроп контрастирует с пастухом, охраняющим овец на заднем плане и преисполненным заботы о своих подопечных. По традиции, идущей ещё от Ветхого Завета, в образе пастуха аллегорически изображался Христос.
Круглая форма картины нетипична для Брейгеля. Если судить по дошедшим до нас работам, он использовал её всего дважды. В 1558 году во время подготовительных работ к картине «Фламандские пословицы» и в этой работе десятью годами спустя. Здесь он возвращается также к оставленной технике — пишет не маслом по дереву, а темперой по холсту.
Фрагменты картины
Литература
- Львов С. Л. Питер Брейгель Старший — Издательство: ТЕРРА, 1998.
- Гершензон-Чегодаева Н. М. Брейгель. М., 1983.
- Orenstein, Nadine M., ed. Pieter Bruegel the Elder: Drawings and Prints. — The Metropolitan Museum of Art, 2001. — ISBN 9780870999901.
- Allegretti, Pietro. Brueghel. Milano: Skira, 2003. ISBN 00-0001-088-X
- Richardson, Todd M. Pieter Bruegel the Elder: Art discourse in the sixteenth-century Netherlands. Farnham; Burlington: Ashgate Publishing, 2011, pp.151-152. ISBN 978-0-7546-6816-9.
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ГУМАННЫЙ МИЗАНТРОП: Врачи - коллекционеры живописи
В качестве вступления приведу список некоторых Топ-коллекционеров, а потом расскажу о их коллегах по хобби - врачах.Мексиканец Карлос Слим Элу, лидер рейтинга самых богатых людей планеты от Forbes в 2010 и 2011 году. Бизнесмен отдает предпочтение работам мексиканских мастеров, любит искусство постмодернистов, Огюста Родена. Из РФ засветился Роман Абрамович, который собирает в основном картины знаменитых художников-модернистов. В его коллекции есть работы Альберто Джакометти, Фрэнсиса Бэкона, Лусиена Фрейда и многих других. Есть собиратели и в среде мировых звезд: актер Дэвид Боуи, композитор Эндрю Ллойд Уэббер, певец Элтон Джон.
Но сегодня расскажу о российских врачах - коллекционерах живописи. Коллекции имели и собирали: С.С. Боткин - сын С.П.Боткина, которому досталась часть коллекции от отца - Дмитрия Петровича; И.П. Павлов; И.И. Трояновский; П.И. Карпов и т.д.
С.С. Боткин. Объектом коллекционирования знаменитого врача-терапевта был рисунок русских художников. В экспозицию входили произведения XIX века, посвященные образу Петербурга и его пригородов; уникальные штудии натурщиков работы К.П.Брюллова, А.Е.Егорова и О.А.Кипренского; акварельные портреты, составлявшие ценнейшую часть собрания С.С.Боткина. Наиболее значительными образцами живописного и графического наследия представлены работы: П.А.Федотова, И.И.Шишкина, Ф.А.Васильева, И.Е.Репина, В.И.Сурикова; а также ведущих мастеров русского искусства начала ХХ века: В.А.Серов, М.А.Врубель, А.Н.Бенуа, К.А.Сомов, Л.С.Бакст и др. Ну и для… Есть такой интересный момент. У дочери Крамского Софьи были известные поклонники - И.Репин, А. Бенуа и т.д. Но она любила и была помолвлена с С.С. Боткиным. Крамской на радостях написал великолепные парные и не парные портреты жениха (что слева) и невесты. Неожиданно для всех доктор влюбился в подругу своей невесты Александру Третьякову и женился на ней.К слову. Основоположник коллекции Д.П. Боткин имел в своём собрании только десять русских картин, остальные – мастера западноевропейской живописи. Некоторые представлены ниже.
Перов Василий Григорьевич - «Учитель рисования», И. Н. Крамской - «Портрет С. С. Боткиной», Жером Жан-Леон - «Башибузук».
И.П. Павлов – этот был коллекционером по жизни, начиная с бабочек. Он довольно близко подружился с крупнейшим русскими художниками: Н. Н. Дубовским, И.Е. Репиным, М.В. Нестеровым (слева работа Нестерова М.В. - И.П. Павлов). Но первым приобретением стал великолепный портрет пятилетнего старшего сына Владимира, написанный известным художником Н.А. Ярошенко. Собственно, коллекция Павлова долгое время не пополнялась. Только во время революции, когда некоторые коллекционеры стали продавать имевшиеся у них картины, Иван Петрович собрал превосходную подборку картин, которая в настоящее время частично представлена в «музее-квартире Павлова в Санкт-Петербурге, на Васильевском острове. В его коллекции были полотна Репина, Сурикова, Левитана, Виктора Васнецова, Семирадского, много передвижников - Лебедев, Маковский, Берггольц, Сергеев и другие. Хотя коллекция Павлова была сравнительно небольшая, но имела такие произведения, как картина Васнецова «Три богатыря», по которой он объяснял типы человеческого темперамента. Из своего общения с художниками Павлов сделал вывод, что у художников преобладает синтезирующий ум, а у учёных - анализирующий.  |  |
П. И. Карпов (слева работа Врубеля - П.И. Карпов). Профессор психоневрологии, действительный член Российской академии художественных наук (РАХН), один из первых коллекционеров и исследователей творчества душевнобольных. Человек разносторонних интересов, он безусловно, весьма неординарная фигура в истории отечественной психиатрии начала ХХ века. Его изыскания выходят за пределы узкопрофильных профессиональных рамок. В малоизученном поле маргинальной культуры исследования отечественного психиатра несколько неожиданно оказались в авангарде советского искусствоведения. Ниже смотрите ряд коллекционных рисунков из его книги «Творчество душевнобольных»: 
И.И.Трояновский. Один из крупнейших коллекционеров, в т.ч. орхидей… Врачебная практика сблизила его с В. Д. Поленовым, А. П. Чеховым, Ф. И. Шаляпиным, И. Э. Грабарём, Н. К. Метнером, С. В. Рахманиновым. Был лечащим врачом и близким другом В. А. Серова и И. И. Левитана; обоих лечил от тяжёлой болезни сердца. Под влиянием этого общения начал коллекционировать русскую живопись, преимущественно модернистского направления. Начало коллекции было положено в 1880-х гг. эскизом к картине Василия Поленова «Больная». В начале XX века в коллекции Трояновского насчитывалось более двухсот произведений живописи и графики Серова, Репина, Левитана, Врубеля, Коровина, Грабаря и менее известных художников. Ниже несколько известных картин из его коллекции. Картины из коллекцииТрояновского: Е Е Лансере – «Ботик Петра I», В.А. Серов –«Стригуны на водопое», И.И. Левитан – «На севере»,На сегодняшний день так же есть известные в своей среде врачи-коллекционеры, например: москвичи – педиатр Ждановский, хирург Владимир Бураковский, Михаил Алшибай, Давид Иоселиани, Марк Курцер (акушер-гинеколог), А.Н.Сердюк, украинец – Ю.Небесник (реаниматолог). Справка, для понимания масштаба, – стоимость коллекции Небесник порядка 2 млн. долларов. Надеюсь, грабителям не в помощь!))) Согласно списка и по порядку (сверху-вниз, справа-налево) визуализирую их - Владимир Бураковский, Михаил Алшибай, Давид Иоселиани, Марк Курцер, А.Н.Сердюк (стриженный в очках и в центре),Ю.Небесник.
В заключение представлю некоторые картины из коллекции нашего современника - врача психиатра. В основном, это подарки художников-пациентов. Некоторые из низ на слуху у публики. Особо выделю рисунки Флоренского - иллюстрация стихов Олега Григорьева.humamisan.blogspot.com
Мизантроп (картина) - Википедия
Материал из Википедии — свободной энциклопедии
У этого термина существуют и другие значения, см. Мизантроп.«Мизантроп» — картина Питера Брейгеля Старшего. Написана в 1568 году темперой по холсту. Хранится в Национальной галерее Каподимонте в Неаполе.
Описание[ | ]
Одна из последних картин художника, написана за год до смерти. В ней, как и в многих других своих произведениях, Брейгель размышляет о человеческих пороках и бренности человеческой жизни. На картине изображён молодой злобный карлик, крадущий кошелёк у мрачного старика. Карлик вписан в сферу с крестом — это символическое изображение порочного мира. Старик в низко надвинутом на лицо капюшоне занимает доминирующее положение. Кисти рук сложены в молитвенном жесте, который должен свидетельствовать о благочестивом характере персонажа. Однако благочестие оказывается лицемерным: позади из-под длинного чёрного плаща высовывается туго набитый кошелек красного цвета в форме сердца. Возможно, здесь Брейгель опирается на сентенцию «Где кошелёк, там и сердце», восходящую к Евангельскому тексту.
Фраза на нидерландском языке, размещенная в нижней части картины, гласит: «Так как мир столь коварен, я ношу траур». Буквы нанесены посторонней рукой и возможно, в более позднее время, однако считается, что смысл этой надписи совпадает с тем, что хотел показать художник.
Как бы мизантроп не хотел отрешиться от мира, он не может этого сделать. Коварство мира символизирует не только карлик-воришка, но и три ловушки-чеснока, которые разложены по пути следования мизантропа. Угрюмый мизантроп контрастирует с пастухом, охраняющим овец на заднем плане и преисполненным заботы о своих подопечных. По традиции, идущей ещё от Ветхого Завета, в образе пастуха аллегорически изображался Христос.
Круглая форма картины нетипична для Брейгеля. Если судить по дошедшим до нас работам, он использовал её всего дважды. В 1558 году во время подготовительных работ к картине «Фламандские пословицы» и в этой работе десятью годами спустя. Здесь он возвращается также к оставленной технике — пишет не маслом по дереву, а темперой по холсту.
Фрагменты картины[ | ]
Литература[ | ]
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