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Мнемозина (картина) Вики
«Мнемозина» (также «Лампа памяти» и «Рикорданза») — картина английского художника-прерафаэлита Данте Габриэля Россетти, писавшаяся в период с 1875 по 1881 год. Натурщицей для этой работы стала Джейн Моррис[1][2].
Информация о картине[ | код]
Россетти начал писать «Мнемозину» как эскиз к другой своей работе «Астарта Сирийская»[3], для которой Джейн Моррис позировала зимой 1875—1876 года[4], но позже он переделал этот эскиз в образ Мнемозины — греческой богини памяти. Художник упоминал об обеих картинах в письме своей матери 29 апреля 1876 года, где писал, что их отличает положение рук и головы натурщицы[1].
Спустя месяц Россетти заказал раму и собирался продать работу Кларенсу Фраю[2], но тот отказался, и в июле 1876 года картину пожелал приобрести Фредерик Лейланд, известный тем, что купил несколько женских портретов авторства Россетти. Картина была слишком большой для его кабинета, поэтому художник продолжил работать над полотном, по завершению работ «Мнемозина» попала к Лейланду в 1881 году[1][5].
Надпись на раме гласит:
 | Thou fill'st from the winged chalice of the soul Thy lamp, O Memory, fire-winged to its goal.[2] |  |
В 1892 году картина была выставлена на аукционе Кристис, после чего несколько раз сменила хозяев, пока в 1916 году её не приобрёл Сэмьюэл Бэнкрофт младший, владелец одной из самых крупных коллекций картин прерафаэлитов. В 1935 году Бэнкрофты передали коллекцию Художественному музею Делавэра, где она находится по сей день[6].
Примечания[ | код]
- ↑ 1 2 3 Waking Dreams, p.206.
- ↑ 1 2 3 McGann, Jerome (editor) Mnemosyne. Rossetti Archive. Institute for Advanced Technology in the Humanities, University of Virginia (2005). Проверено 9 февраля 2012.
- ↑ Marsh, 1994, p. 128.
- ↑ Marsh, 1994, p. 130.
- ↑ Waking Dreams, p. 26 (figure 5).
- ↑ History. Delaware Art Museum. Проверено 14 декабря 2011.
Литература[ | код]
- Marsh, Jan. Pre-Raphaelite Women: Images of femininity in Pre-Raphaelite art. — London : Artus Books, 1994. — ISBN 1-898799-33-4.
- Wildman, Stephen. Waking Dreams, the Art of the Pre-Raphaelites from the Delaware Art Museum. — Art Services International, 2004. — P. 395.
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Мнемозина (картина) — Википедия (с комментариями)
Материал из Википедии — свободной энциклопедии
К:Картины 1875 года«Мнемозина» (также «Лампа памяти» и «Рикорданза») — картина английского художника-прерафаэлита Данте Габриэля Россетти, писавшаяся в период с 1875 по 1881 год. Натурщицей для этой работы стала Джейн Моррис[1][2].
Информация о картине
Россетти начал писать «Мнемозину» как эскиз к другой своей работе «Астарта Сирийская»[3], для которой Джейн Моррис позировала зимой 1875—1876 года[4], но позже он переделал этот эскиз в образ Мнемозины — греческой богини памяти. Художник упоминал об обеих картинах в письме своей матери 29 апреля 1876 года, где писал, что их отличает положение рук и головы натурщицы[1].
Спустя месяц Россетти заказал раму и собирался продать работу Кларенсу Фраю[2], но тот отказался, и в июле 1876 года картину пожелал приобрести Фредерик Лейланд, известный тем, что купил несколько женских портретов авторства Россетти. Картина была слишком большой для его кабинета, поэтому художник продолжил работать над полотном, по завершению работ «Мнемозина» попала к Лейланду в 1881 году[1][5].
Надпись на раме гласит:
| « | Thou fill'st from the winged chalice of the soul Thy lamp, O Memory, fire-winged to its goal.[2] | » |
В 1892 году картина была выставлена на аукционе Кристис, после чего несколько раз сменила хозяев, пока в 1916 году её не приобрёл Сэмьюэл Бэнкрофт младший, владелец одной из самых крупных коллекций картин прерафаэлитов. В 1935 году Бэнкрофты передали коллекцию Художественному музею Делавэра, где она находится по сей день[6].
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Примечания
- ↑ 1 2 3 Waking Dreams, p.206.
- ↑ 1 2 3 McGann, Jerome (editor) [http://www.rossettiarchive.org/docs/s261.rap.html Mnemosyne]. Rossetti Archive. Institute for Advanced Technology in the Humanities, University of Virginia (2005). Проверено 9 февраля 2012.
- ↑ Marsh (1987), p. 128
- ↑ Marsh (1987), p. 130
- ↑ Waking Dreams, p. 26 (figure 5).
- ↑ [http://www.preraph.org/history/ History]. Delaware Art Museum. Проверено 14 декабря 2011.
Литература
- Marsh Jan. Pre-Raphaelite Women: Images of femininity in Pre-Raphaelite art. — London: Artus Books, 1994. — ISBN 1-898799-33-4.
- Wildman Stephen. Waking Dreams, the Art of the Pre-Raphaelites from the Delaware Art Museum. — Art Services International, 2004. — P. 395.
Отрывок, характеризующий Мнемозина (картина)
Мнемозина (картина) - WikiVisually
1. Россетти, Данте Габриэль – Dante Gabriel Rossetti was an English poet, illustrator, painter and translator. He founded the Pre-Raphaelite Brotherhood in 1848 with William Holman Hunt, Rossetti was later to be the main inspiration for a second generation of artists and writers influenced by the movement, most notably William Morris and Edward Burne-Jones. His work also influenced the European Symbolists and was a precursor of the Aesthetic movement. Rossettis art was characterised by its sensuality and its medieval revivalism and his early poetry was influenced by John Keats. His later poetry was characterised by the complex interlinking of thought and feeling, especially in his sonnet sequence, poetry and image are closely entwined in Rossettis work. Rossettis personal life was linked to his work, especially his relationships with his models and muses Elizabeth Siddal, Fanny Cornforth. The son of émigré Italian scholar Gabriele Pasquale Giuseppe Rossetti and his wife Frances Mary Lavinia Polidori, Rossetti was born in London, England and his family and friends called him Gabriel, but in publications he put the name Dante first in honour of Dante Alighieri. He was the brother of poet Christina Rossetti, critic William Michael Rossetti and his father was a Roman Catholic, at least prior to his marriage, and his mother was an Anglican, ostensibly Gabriel was baptized as and was a practicing Anglican. During his childhood, Rossetti was home educated and often read the Bible, along with the works of Shakespeare, Dickens, Sir Walter Scott, the youthful Rossetti is described as self-possessed, articulate, passionate and charismatic but also ardent, poetic and feckless. Like all his siblings, he aspired to be a poet and attended Kings College School and he also wished to be a painter, having shown a great interest in Medieval Italian art. He studied at Henry Sass Drawing Academy from 1841 to 1845, when he enrolled in the Antique School of the Royal Academy, after leaving the Royal Academy, Rossetti studied under Ford Madox Brown, with whom he retained a close relationship throughout his life. Following the exhibition of William Holman Hunts painting The Eve of St. Agnes, the painting illustrated a poem by the little-known John Keats. Rossettis own poem, The Blessed Damozel, was an imitation of Keats, together they developed the philosophy of the Pre-Raphaelite Brotherhood which they founded along with John Everett Millais. Their approach was to return to the abundant detail, intense colours, the eminent critic John Ruskin wrote, Every Pre-Raphaelite landscape background is painted to the last touch, in the open air, from the thing itself. Every Pre-Raphaelite figure, however studied in expression, is a portrait of some living person. Rossettis first major paintings in oil display the realist qualities of the early Pre-Raphaelite movement and his Girlhood of Mary Virgin and Ecce Ancilla Domini portray Mary as a teenage girl. I saw at once that he was not an orthodox boy, the mixture of genius and dilettantism of both men shut me up for the moment, and whetted my curiosity. Although his work subsequently won support from John Ruskin, Rossetti only rarely exhibited thereafter, in 1850, Rossetti met Elizabeth Siddal, an important model for the Pre-Raphaelite painters
2. Художественный музей Делавэра – The Delaware Art Museum is an art museum located on the Kentmere Parkway in Wilmington, Delaware, which holds a collection of more than 12,000 objects. The museum was founded in 1912 as the Wilmington Society of the Fine Arts in honor of the artist Howard Pyle, the collection focuses on American art and illustration from the 19th to the 21st century, and on the English Pre-Raphaelite movement of the mid-19th century. The museum was founded in 1912 after Howard Pyles death as the Wilmington Society of the Fine Arts, with over 100 paintings, drawings, Pyle was the best-known American illustrator of his day, he died unexpectedly in 1911 while on a trip to Italy. Pyle left behind many students and patrons in his town of Wilmington who wished to honor his memory through the museum, including Frank Schoonover, Stanley Arthurs. The museums charter stated its purpose to promote the knowledge and enjoyment of, from 1912 to 1922, the WSFA did not have a permanent home. It held annual exhibitions at the Hotel duPont of work by Pyle, as well as juried exhibitions of his pupils and other Delaware artists. The Pyle Collection continued to grow due to the largess of Willard S. Morse, in 1922, the WSFA rented three rooms in the New Library Building on the corner of 10th and Market Streets in downtown Wilmington. In 1931, the estate of Samuel Bancroft contacted the WSFA with an offer to donate a collection of Pre-Raphaelite works, Bancroft acquired the collection beginning in the 1890s and it is the largest and most important collection of British Pre-Raphaelite art and manuscript materials in the United States. Despite the harships of the Great Depression, the WSFA raised $350,000 for the new building opened in 1938. At the same time, the name was changed to Delaware Art Center, the WSFA moved into the Delaware Art Center in June 1938, with the Wilmington Academy of Fine Arts running educational programs on the ground floor. The onset of World War II resulted in strict gas rationing, the rapid growth of educational programs after World War II required the Delaware Art Center to expand by 1956. Studios and training facilities were included in the expansion, thanks to a $300,000 donation by H, a further renovation was completed in 1970, adding air conditioning and humidity control to the building. In 1972, the Delaware Art Center was awarded accreditation by the American Alliance of Museums, shortly thereafter, the Delaware Art Center was renamed the Delaware Art Museum to reflect the growing strength of its collections, programs, and constituency. A further expansion was completed in 1987 which effectively doubled the size of the museum, however, the rapid growth of attendance, programming, and outreach required a further expansion in 2005. The Delaware Art Museums collections are drawn from late 19th- and early 20th-century American illustration. The basis of the collections are the works of Howard Pyle. Wyeth, Frank Schoonover, and Stanley Arthurs, Helen Farr Sloan was the wife of artist John French Sloan, and she began donations in 1961 that eventually totalled 5,000 objects. Since the 1970s, the museum has added works by artists such as Jacob Lawrence, Louise Nevelson, Robert Motherwell, George Segal
3. Уилмингтон (Делавэр) – Wilmington is the largest city in the state of Delaware, United States, built on the site of Fort Christina, the first Swedish settlement in North America. It is located at the confluence of the Christina River and Brandywine River and it is the county seat of New Castle County and one of the major cities in the Delaware Valley metropolitan area. Wilmington was named by Proprietor Thomas Penn after his friend Spencer Compton, Earl of Wilmington, as of the 2015 United States Census estimate, the population of the city is 71,948, reflecting an increase of 1. 5% from the 2010 Census. The Wilmington Metropolitan Division, comprising New Castle County, DE, Cecil County, MD and Salem County, Wilmington is built on the site of Fort Christina and the settlement Kristinehamn, the first Swedish settlement in North America. The area now known as Wilmington was settled by the Lenape band led by Sachem Mattahorn just before Henry Hudson sailed up the Len-api Hanna in 1609, the area was called Maax-waas Unk or Bear Place after the Maax-waas Hanna that flowed by. It was called the Bear River because it flowed west to the Bear People, the Dutch heard and spelled the river and the place as Minguannan. The area was known as The Rocks, and is located near the foot of present-day Seventh Street. Fort Christina served as the headquarters for the colony of New Sweden which consisted of, for the most part, the lower Delaware River region, dr. Timothy Stidham was a prominent citizen and doctor in Wilmington. He was born in 1610, probably in Hammel, Denmark and raised in Gothenburg and he arrived in New Sweden in 1654 and is recorded as the first physician in Delaware. The most important Swedish governor was Colonel Johan Printz, who ruled the colony under Swedish law from 1643 to 1653. He was succeeded by Johan Rising, who upon his arrival in 1654, seized the Dutch post Fort Casimir, located at the site of the present town of New Castle and this marked the end of Swedish rule in North America. Although during the American Revolutionary War only one small battle was fought in Delaware, the British remained in the town until they vacated Philadelphia in 1778. In 1800, Eleuthère Irénée du Pont, a French Huguenot, knowledgeable in the manufacture of gunpowder, by 1802 DuPont had begun making the explosive in a mill on the Brandywine River north of Brandywine Village and just outside the town of Wilmington. The DuPont company became a supplier to the U. S. military. Located on the banks of the Brandywine River, the village was annexed by Wilmington city. The greatest growth in the city occurred during the Civil War, Delaware, though officially remaining a member of the Union, was a border state and divided in its support of both the Confederate and the Union causes. The war created enormous demand for goods and materials supplied by Wilmington including ships, railroad cars, gunpowder, shoes, and other war-related goods. By 1868, Wilmington was producing more iron ships than the rest of the combined and it rated first in the production of gunpowder and second in carriages
4. Масляная живопись – Oil painting is the process of painting with pigments with a medium of drying oil as the binder. Commonly used drying oils include linseed oil, poppy seed oil, walnut oil, the choice of oil imparts a range of properties to the oil paint, such as the amount of yellowing or drying time. Certain differences, depending on the oil, are visible in the sheen of the paints. An artist might use different oils in the same painting depending on specific pigments and effects desired. The paints themselves also develop a particular consistency depending on the medium, the oil may be boiled with a resin, such as pine resin or frankincense, to create a varnish prized for its body and gloss. Its practice may have migrated westward during the Middle Ages, Oil paint eventually became the principal medium used for creating artworks as its advantages became widely known. In recent years, water miscible oil paint has come to prominence and, to some extent, water-soluble paints contain an emulsifier that allows them to be thinned with water rather than paint thinner, and allows very fast drying times when compared with traditional oils. Traditional oil painting techniques often begin with the artist sketching the subject onto the canvas with charcoal or thinned paint, Oil paint is usually mixed with linseed oil, artist grade mineral spirits, or other solvents to make the paint thinner, faster or slower-drying. A basic rule of oil paint application is fat over lean and this means that each additional layer of paint should contain more oil than the layer below to allow proper drying. If each additional layer contains less oil, the painting will crack. This rule does not ensure permanence, it is the quality and type of oil leads to a strong. There are many media that can be used with the oil, including cold wax, resins. These aspects of the paint are closely related to the capacity of oil paint. Traditionally, paint was transferred to the surface using paintbrushes. Oil paint remains wet longer than other types of artists materials, enabling the artist to change the color. At times, the painter might even remove a layer of paint. This can be done with a rag and some turpentine for a time while the paint is wet, Oil paint dries by oxidation, not evaporation, and is usually dry to the touch within a span of two weeks. It is generally dry enough to be varnished in six months to a year, art conservators do not consider an oil painting completely dry until it is 60 to 80 years old
5. Прерафаэлиты – The Pre-Raphaelite Brotherhood was a group of English painters, poets, and critics, founded in 1848 by William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti. The three founders were joined by William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner to form the seven-member brotherhood and their principles were shared by other artists, including Marie Spartali Stillman and Ford Madox Brown. A later, medievalising strain inspired by Rossetti included Edward Burne-Jones, the groups intention was to reform art by rejecting what it considered the mechanistic approach first adopted by Mannerist artists who succeeded Raphael and Michelangelo. Its members believed the Classical poses and elegant compositions of Raphael in particular had been an influence on the academic teaching of art. In particular, the group objected to the influence of Sir Joshua Reynolds, founder of the English Royal Academy of Arts, to the Pre-Raphaelites, according to William Michael Rossetti, sloshy meant anything lax or scamped in the process of painting. Any thing or person of a commonplace or conventional kind, the brotherhood sought a return to the abundant detail, intense colours and complex compositions of Quattrocento Italian art. The group associated their work with John Ruskin, an English critic whose influences were driven by his religious background, the group continued to accept the concepts of history painting and mimesis, imitation of nature, as central to the purpose of art. The Pre-Raphaelites defined themselves as a movement, created a distinct name for their form of art. The groups debates were recorded in the Pre-Raphaelite Journal, the Pre-Raphaelite Brotherhood was founded in John Millaiss parents house on Gower Street, London in 1848. At the first meeting, the painters John Everett Millais, Dante Gabriel Rossetti, Hunt and Millais were students at the Royal Academy of Arts and had met in another loose association, the Cyclographic Club, a sketching society. At his own request Rossetti became a pupil of Ford Madox Brown in 1848, at that date, Rossetti and Hunt shared lodgings in Cleveland Street, Fitzrovia, Central London. Hunt had started painting The Eve of St. Agnes based on Keatss poem of the same name, as an aspiring poet, Rossetti wished to develop the links between Romantic poetry and art. Ford Madox Brown was invited to join, but the more senior artist remained independent but supported the group throughout the PRB period of Pre-Raphaelitism, other young painters and sculptors became close associates, including Charles Allston Collins, Thomas Tupper, and Alexander Munro. The PRB intended to keep the existence of the secret from members of the Royal Academy. The principles were deliberately non-dogmatic, since the brotherhood wished to emphasise the personal responsibility of artists to determine their own ideas. Influenced by Romanticism, the members thought freedom and responsibility were inseparable, nevertheless, they were particularly fascinated by medieval culture, believing it to possess a spiritual and creative integrity that had been lost in later eras. The emphasis on medieval culture clashed with principles of realism which stress the independent observation of nature, in its early stages, the Pre-Raphaelite Brotherhood believed its two interests were consistent with one another, but in later years the movement divided and moved in two directions. The realists were led by Hunt and Millais, while the medievalists were led by Rossetti and his followers, Edward Burne-Jones and William Morris
6. Мнемосина – Mnemosyne, source of the word mnemonic, was the personification of memory in Greek mythology. A Titanide, or Titaness, she was the daughter of the Titans Uranus, zeus and Mnemosyne slept together for nine consecutive nights, thus birthing the nine Muses. Mnemosyne also presided over a pool in Hades, counterpart to the river Lethe, dead souls drank from Lethe so they would not remember their past lives when reincarnated. In Orphism, the initiated were taught to instead drink from the Mnemosyne, the river of memory, for more about the incriptions connection with Orphic poetry, see Zuntz,1971. Although she was categorized as one of the Titans in the Theogony, Titans were hardly worshiped in Ancient Greece, and were thought of as so archaic as to belong to the ancient past. They resembled historical figures more than anything else, later, once written literature overtook the oral recitation of epics, Plato made reference in his Euthydemus to the older tradition of invoking Mnemosyne. The character Socrates prepares to recount a story and says “ὥστ᾽ ἔγωγε, καθάπερ οἱ ποιηταί, δέομαι ἀρχόμενος τῆς διηγήσεως Μούσας τε καὶ Μνημοσύνην ἐπικαλεῖσθαι. ”Which translates to “Consequently, like the poets, I must needs begin my narrative with an invocation of the Muses and Memory”. Aristophanes also harked back to the tradition in his play Lysistrata when a drunken Spartan ambassador invokes her name while prancing around pretending to be a bard from times of yore. Mnemosyne was one of the deities worshiped in the cult of Asclepius that formed in Ancient Greece around the 5th century BC. Asclepius, a Greek hero and god of medicine, was said to have been able to cure maladies, the exact order of the offerings and prayers varied by location, and the supplicant often made an offering to Mnemosyne. After making an offering to Asclepius himself, in some locations, the hope was that a prayer to Mnemosyne would help the supplicant remember any visions had while sleeping there. Titans in popular culture, Mnemosyne Mnemonic Meme Moneta Aeschylus, Persians, edited and translated by Alan H. Sommerstein. Cambridge, MA, Harvard University Press,2009, online version at Harvard University Press. Apollodorus, Apollodorus, The Library, with an English Translation by Sir James George Frazer, Cambridge, MA, Harvard University Press, London, William Heinemann Ltd.1921. Online version at the Perseus Digital Library, caldwell, Richard, Hesiods Theogony, Focus Publishing/R. Hesiod, Theogony, in The Homeric Hymns and Homerica with an English Translation by Hugh G. Evelyn-White, Cambridge, Harvard University Press, London, William Heinemann Ltd.1914. Online version at the Perseus Digital Library, hymn to Hermes, in The Homeric Hymns and Homerica with an English Translation by Hugh G. Evelyn-White, Cambridge, MA. Harvard University Press, London, William Heinemann Ltd.1914, online version at the Perseus Digital Library
7. Древнегреческая мифология – It was a part of the religion in ancient Greece. Greek mythology is explicitly embodied in a collection of narratives. Greek myth attempts to explain the origins of the world, and details the lives and adventures of a variety of gods, goddesses, heroes, heroines. These accounts initially were disseminated in a tradition, today the Greek myths are known primarily from ancient Greek literature. The oldest known Greek literary sources, Homers epic poems Iliad and Odyssey, focus on the Trojan War, archaeological findings provide a principal source of detail about Greek mythology, with gods and heroes featured prominently in the decoration of many artifacts. Geometric designs on pottery of the eighth century BC depict scenes from the Trojan cycle as well as the adventures of Heracles, in the succeeding Archaic, Classical, and Hellenistic periods, Homeric and various other mythological scenes appear, supplementing the existing literary evidence. Greek mythology has had an influence on the culture, arts. Poets and artists from ancient times to the present have derived inspiration from Greek mythology and have discovered contemporary significance and relevance in the themes, Greek mythology is known today primarily from Greek literature and representations on visual media dating from the Geometric period from c. Mythical narration plays an important role in every genre of Greek literature. Nevertheless, the only general mythographical handbook to survive from Greek antiquity was the Library of Pseudo-Apollodorus and this work attempts to reconcile the contradictory tales of the poets and provides a grand summary of traditional Greek mythology and heroic legends. Apollodorus of Athens lived from c, 180–125 BC and wrote on many of these topics. His writings may have formed the basis for the collection, however the Library discusses events that occurred long after his death, among the earliest literary sources are Homers two epic poems, the Iliad and the Odyssey. Other poets completed the cycle, but these later and lesser poems now are lost almost entirely. Despite their traditional name, the Homeric Hymns have no connection with Homer. They are choral hymns from the part of the so-called Lyric age. Hesiods Works and Days, a poem about farming life, also includes the myths of Prometheus, Pandora. The poet gives advice on the best way to succeed in a dangerous world, lyrical poets often took their subjects from myth, but their treatment became gradually less narrative and more allusive. Greek lyric poets, including Pindar, Bacchylides and Simonides, and bucolic poets such as Theocritus and Bion, additionally, myth was central to classical Athenian drama
8. Память – Memory is the faculty of the mind by which information is encoded, stored, and retrieved. Memory is vital to experiences and related to systems, it is the retention of information over time for the purpose of influencing future action. If we could not remember past events, we could not learn or develop language, relationships, often memory is understood as an informational processing system with explicit and implicit functioning that is made up of a sensory processor, short-term memory, and long-term memory. The sensory processor allows information from the world to be sensed in the form of chemical and physical stimuli and attended to with various levels of focus. Working memory serves as an encoding and retrieval processor, information in the form of stimuli is encoded in accordance with explicit or implicit functions by the working memory processor. The working memory also retrieves information from previously stored material, finally, the function of long-term memory is to store data through various categorical models or systems. Explicit and implicit functions of memory are known as declarative and non-declarative systems. These systems involve the purposeful intention of memory retrieval and storage, declarative, or explicit, memory is the conscious storage and recollection of data. Under declarative memory resides semantic and episodic memory, semantic memory refers to memory that is encoded with specific meaning, while episodic memory refers to information that is encoded along a spatial and temporal plane. Declarative memory is usually the primary process thought of when referencing memory, non-declarative, or implicit, memory is the unconscious storage and recollection of information. An example of a process would be the unconscious learning or retrieval of information by way of procedural memory. Memory is not a processor, and is affected by many factors. The manner information is encoded, stored, and retrieved can all be corrupted, the amount of attention given new stimuli can diminish the amount of information that becomes encoded for storage. Also, the process can become corrupted by physical damage to areas of the brain that are associated with memory storage. Finally, the retrieval of information from long-term memory can be disrupted because of decay within long-term memory, normal functioning, decay over time, and brain damage all affect the accuracy and capacity of memory. Sensory memory holds sensory information less than one second after an item is perceived, the ability to look at an item and remember what it looked like with just a split second of observation, or memorization, is the example of sensory memory. It is out of control and is an automatic response. With very short presentations, participants often report that they seem to see more than they can actually report, the first experiments exploring this form of sensory memory were precisely conducted by George Sperling using the partial report paradigm
9. Кристис – Christies is a historic British auction house. It was founded in 1766 by James Christie and its main premises are in King Street, St. Jamess, in London, and on Rockefeller Plaza in New York City in the United States. The company is owned by Groupe Artémis, the company of François-Henri Pinault. Sales in 2015 totalled £4.8 billion, however, other sources note that James Christie rented auction rooms from 1762, and newspaper advertisements of Christies sales dating from 1759 have also been traced. Christies soon established a reputation as an auction house. From 1859, the company was called Christie, Manson & Woods, in 1958, it established its first overseas office, by placing a representative in Rome. The first overseas salesroom opened in Geneva, where Christies holds jewellery auctions, Christies was a public company, listed on the London Stock Exchange from 1973 to 1999. In 1974, Jo Floyd was appointed chairman of Christies and he served as chairman of Christies International plc. from 1976 to 1988, until handing over to Lord Carrington, and later was a non-executive member of the board of directors until 1992. The auction houses subsidiary Christies International Inc. held its first sale in the United States in 1977,13 years later than Sothebys, Christies growth was slow but steady since 1989, when it had 42 percent of the auction market. In 1990, the company reversed a policy and guaranteed a minimum price for a collection of artworks in its May auctions. In 1996, the auction houses sales eclipsed Sothebys for the first time since 1954. In 1993, Christies paid $10.9 million for the London gallery Spink & Sons, which specialised in Oriental art and British paintings, the company bought Leger Gallery for $3.3 million in 1996, and merged it with Spink to become Spink-Leger. The company has not been reporting profits, though it gives sale totals twice a year. Its policy, in line with U. K. accounting standards, is to convert non-U. K, results using an average exchange rate weighted daily by sales throughout the year. In 2002, Christies France held its first auction in Paris, like Sothebys, Christies became increasingly involved in high-profile private transactions. Under the original deal, the gallery was meant to be the channel for all of Christies private-client business as well as the focus of its primary trade. Also, the house originally announced that Haunch employees could not bid at auction because of conflicts of interest or issues of market manipulation. Today, the continues to operate as an independent company in London and New York
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WikiZero - Мнемозина (картина)
Wikipedia Open wikipedia design. «Мнемозина» (также «Лампа памяти» и «Рикорданза») — картина английского художника-прерафаэлита Данте Габриэля Россетти, писавшаяся в период с 1875 по 1881 год. Натурщицей для этой работы стала Джейн Моррис[1][2].
Россетти начал писать «Мнемозину» как эскиз к другой своей работе «Астарта Сирийская»[3], для которой Джейн Моррис позировала зимой 1875—1876 года[4], но позже он переделал этот эскиз в образ Мнемозины — греческой богини памяти. Художник упоминал об обеих картинах в письме своей матери 29 апреля 1876 года, где писал, что их отличает положение рук и головы натурщицы[1].
Спустя месяц Россетти заказал раму и собирался продать работу Кларенсу Фраю[2], но тот отказался, и в июле 1876 года картину пожелал приобрести Фредерик Лейланд, известный тем, что купил несколько женских портретов авторства Россетти. Картина была слишком большой для его кабинета, поэтому художник продолжил работать над полотном, по завершению работ «Мнемозина» попала к Лейланду в 1881 году[1][5].
Надпись на раме гласит:
| Thou fill'st from the winged chalice of the soul Thy lamp, O Memory, fire-winged to its goal.[2] | |
В 1892 году картина была выставлена на аукционе Кристис, после чего несколько раз сменила хозяев, пока в 1916 году её не приобрёл Сэмьюэл Бэнкрофт младший, владелец одной из самых крупных коллекций картин прерафаэлитов. В 1935 году Бэнкрофты передали коллекцию Художественному музею Делавэра, где она находится по сей день[6].
- ↑ 1 2 3 Waking Dreams, p.206.
- ↑ 1 2 3 McGann, Jerome (editor) Mnemosyne. Rossetti Archive. Institute for Advanced Technology in the Humanities, University of Virginia (2005). Проверено 9 февраля 2012.
- ↑ Marsh, 1994, p. 128.
- ↑ Marsh, 1994, p. 130.
- ↑ Waking Dreams, p. 26 (figure 5).
- ↑ History. Delaware Art Museum. Проверено 14 декабря 2011.
- Marsh, Jan. Pre-Raphaelite Women: Images of femininity in Pre-Raphaelite art. — London : Artus Books, 1994. — ISBN 1-898799-33-4.
- Wildman, Stephen. Waking Dreams, the Art of the Pre-Raphaelites from the Delaware Art Museum. — Art Services International, 2004. — P. 395.
www.wikizero.com
Мнемозина (картина) - Gpedia, Your Encyclopedia
«Мнемозина» (также «Лампа памяти» и «Рикорданза») — картина английского художника-прерафаэлита Данте Габриэля Россетти, писавшаяся в период с 1875 по 1881 год. Натурщицей для этой работы стала Джейн Моррис[1][2].
Информация о картине
Россетти начал писать «Мнемозину» как эскиз к другой своей работе «Астарта Сирийская»[3], для которой Джейн Моррис позировала зимой 1875—1876 года[4], но позже он переделал этот эскиз в образ Мнемозины — греческой богини памяти. Художник упоминал об обеих картинах в письме своей матери 29 апреля 1876 года, где писал, что их отличает положение рук и головы натурщицы[1].
Спустя месяц Россетти заказал раму и собирался продать работу Кларенсу Фраю[2], но тот отказался, и в июле 1876 года картину пожелал приобрести Фредерик Лейланд, известный тем, что купил несколько женских портретов авторства Россетти. Картина была слишком большой для его кабинета, поэтому художник продолжил работать над полотном, по завершению работ «Мнемозина» попала к Лейланду в 1881 году[1][5].
Надпись на раме гласит:
 | Thou fill'st from the winged chalice of the soul Thy lamp, O Memory, fire-winged to its goal.[2] |  |
В 1892 году картина была выставлена на аукционе Кристис, после чего несколько раз сменила хозяев, пока в 1916 году её не приобрёл Сэмьюэл Бэнкрофт младший, владелец одной из самых крупных коллекций картин прерафаэлитов. В 1935 году Бэнкрофты передали коллекцию Художественному музею Делавэра, где она находится по сей день[6].
Примечания
- ↑ 1 2 3 Waking Dreams, p.206.
- ↑ 1 2 3 McGann, Jerome (editor) Mnemosyne. Rossetti Archive. Institute for Advanced Technology in the Humanities, University of Virginia (2005). Проверено 9 февраля 2012.
- ↑ Marsh, 1994, p. 128.
- ↑ Marsh, 1994, p. 130.
- ↑ Waking Dreams, p. 26 (figure 5).
- ↑ History. Delaware Art Museum. Проверено 14 декабря 2011.
Литература
- Marsh, Jan. Pre-Raphaelite Women: Images of femininity in Pre-Raphaelite art. — London : Artus Books, 1994. — ISBN 1-898799-33-4.
- Wildman, Stephen. Waking Dreams, the Art of the Pre-Raphaelites from the Delaware Art Museum. — Art Services International, 2004. — P. 395.
www.gpedia.com
великая богиня памяти Древней Эллады
Учёные, историки, философы всегда стремились сохранять и изучать память прошлых времён. Для того чтобы делать новые открытия, нужно знать природу вещей и явлений. Познание всегда предшествует знанию. Человеческий разум - это разум вселенский, он способен освоить и осознать всё. Но для того чтобы делать открытия, нужно иметь базу. Чем она обширнее, тем больше возможностей для совершенствования.
Боги в жизни эллинов
Древние греки знали это. Недаром эллинская культура подарила человечеству такое большое количество замечательных памятников литературы и искусства. От античности нам достались не только глубокие духовные знания из области естественных и гуманитарных наук, запечатлённые в литературе, но и вещественное отображение высочайшей цивилизации того времени. С шестнадцатого века до нашей эры эллины исповедовали политеизм, то есть многобожие. Они строили храмы, устанавливали алтари, куда приносили жертвы в виде самых лучших животных, отборных фруктов, а также молоко, сыр, вино, дорогую утварь. Жертвы приносили в качестве благодарности по случаю радостных событий, когда хотели получить защиту от опасности или для благословения на новое дело. За разрешением спорных вопросов также обращались к богам.
Дары Мнемозины
В пантеоне особенно почитаемой и любимой была богиня памяти - титанида Мнемозина. Наследие, оставленное древними греками, показывает, что эллины были широко образованными в самых различных науках. Откуда же они черпали свои знания и вдохновение для труда? Скорой помощницей в такого рода делах была Мнемозина. Дочь Земли и Неба - Геи и Урана, она обитала в горном мире и знала земные проблемы. Богиня памяти в греческой мифологии обладала способностью извлекать из прошлого давно забытые события. Ей же приписывалось и умение предвидеть будущее. Это наводит на мысль о том, что жители Древней Эллады понимали взаимосвязь между событиями прошлого и настоящего, а также их влияние на формирование будущего. Богиня памяти дала названия предметам и явлениям, а также упорядочила их, привела к системе. Искусство запоминания, называемое мнемотехникой, пришло к нам как раз из тех времён. Греческая богиня памяти оставила наследство, которым, не отдавая себе в этом отчёта, мы пользуемся по сей день.
Музы - дочери Мнемозины
Мнемозина покорила своей красотой страстного и любвеобильного Зевса. К ней он явился в человеческом обличье. Главный бог Олимпа соблазнил титаниду, притворившись простым пастухом. Девять ночей подряд Зевс делил ложе с прекрасной богиней. Плодом этого союза стали девять муз - покровительниц универсалий, то есть искусств. Легенда говорит, что дочери Зевса и Мнемозины научили людей видеть и понимать красоту окружающего мира, а отображать свой восторг в земном, человеческом воплощении помогла их мать - богиня памяти. Музы унаследовали от отца, властного, энергичного и целеустремлённого верховного бога, такие черты, как увлечённость, напористость, даже в каком-то смысле одержимость. Выбрав себе подходящего человека, они наделяли его талантом, который настойчиво требовал выхода, реализации, так сказать, вдохновляли идеями. Затем музы открывали людям доступ к своей матери - Мнемозине, от которой те и получали необходимые знания для претворения этих идей в жизнь.
Чтобы найти ответ, нужно забыть лишнее
Ритуал совершался следующим образом. Дабы очистить своё сознание от лишнего, оракул омывался водой реки забвения - Леты. Далее следовало погружение в воды реки Мнемозины. В пещере, через которую они протекали, был сооружён трон, который незримо занимала богиня памяти. Очень часто во время действа прорицающего охватывал ужас, который отпускал его только после нового погружения в Лету. После этого он уже не мог вспомнить и повторить то, что произнёс в состоянии экстаза. По этой причине при ритуале необходимо было присутствие третьих лиц. Богиня памяти в греческой мифологии ведала не только запоминанием, но и забыванием. Умение наблюдать, фиксировать незначительные и мелкие подробности, выделять наиболее значимое, анализировать, выстраивать главную сюжетную линию - вот то, что получали от Мнемозины поэты, актёры, музыканты, учёные и философы.
Образ Мнемозины в искусстве
Из античных произведений искусства, запечатлевших Мнемозину, можно назвать хранящуюся в Ватикане изящную мраморную статую и мозаичное панно, сложенное из разноцветных кусочков эмали, изображающее сценку из мифа об одной из самых красивых богинь древности. Оно находится в антиохийском музее греко-римской мозаики. Гесиод и Овидий сохранили память о богине в своих изысканных и утончённых виршах.
В новой эре люди искусства также не забывают легенды о богине разума и воспоминаний, как ещё называют Мнемозину. Фредерик Лейтон изобразил её сидящей на троне на картине «Мнемозина - мать муз». Она обёрнута в свободную тогу, а на голове лежит венок из лавровых листьев. Плавные линии, мягкие контуры и палитра из тёплых оттенков красок в его представлении лучше всего соответствуют образу доброй и мудрой матери девяти очаровательных дочерей. Её задумчивый и отстранённый взгляд словно бы направлен сквозь время и пространство в неведомую бесконечность.
На полотне английского прерафаэлита Россетти богиня памяти Мнемозина стоит в лёгкой тунике изумрудного цвета, который подчеркивает красоту золотисто-каштановых волос, покоривших некогда Зевса. В руке у неё лампа памяти. Зелёные глаза Мнемозины спокойно и сосредоточенно смотрят прямо, словно бы пронзая вас насквозь.
Может быть, нам не стоит углубляться в далёкую историю? Современный стремительный ритм жизни практически не оставляет времени для вдумчивой созерцательности. Однако, отбросив ветхие артефакты как утратившие актуальность, мы рискуем в какой-то момент оказаться ввергнутыми в каменный век, во времена зарождения человеческой цивилизации, и будем вынуждены начать заново приобретать тот опыт, который очень легкомысленно растеряли.
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Мнемозина (картина) - Википедия
Материал из Википедии — свободной энциклопедии
«Мнемозина» (также «Лампа памяти» и «Рикорданза») — картина английского художника-прерафаэлита Данте Габриэля Россетти, писавшаяся в период с 1875 по 1881 год. Натурщицей для этой работы стала Джейн Моррис[1][2].
Информация о картине[ | ]
Россетти начал писать «Мнемозину» как эскиз к другой своей работе «Астарта Сирийская»[3], для которой Джейн Моррис позировала зимой 1875—1876 года[4], но позже он переделал этот эскиз в образ Мнемозины — греческой богини памяти. Художник упоминал об обеих картинах в письме своей матери 29 апреля 1876 года, где писал, что их отличает положение рук и головы натурщицы[1].
Спустя месяц Россетти заказал раму и собирался продать работу Кларенсу Фраю[2], но тот отказался, и в июле 1876 года картину пожелал приобрести Фредерик Лейланд, известный тем, что купил несколько женских портретов авторства Россетти. Картина была слишком большой для его кабинета, поэтому художник продолжил работать над полотном, по завершению работ «Мнемозина» попала к Лейланду в 1881 году[1][5].
Надпись на раме гласит:
| Thou fill'st from the winged chalice of the soul Thy lamp, O Memory, fire-winged to its goal.[2] | |
В 1892 году картина была выставлена на аукционе Кристис, после чего несколько раз сменила хозяев, пока в 1916 году её не приобрёл Сэмьюэл Бэнкрофт младший, владелец одной из самых крупных коллекций картин прерафаэлитов. В 1935 году Бэнкрофты передали коллекцию Художественному музею Делавэра, где она находится по сей день[6].
Примечания[ | ]
- ↑ 1 2 3 Waking Dreams, p.206.
- ↑ 1 2 3 McGann, Jerome (editor) Mnemosyne. Rossetti Archive. Institute for Advanced Technology in the Humanities, University of Virginia (2005). Проверено 9 февраля 2012.
- ↑ Marsh (1987), p. 128
- ↑ Marsh (1987), p. 130
- ↑ Waking Dreams, p. 26 (figure 5).
- ↑ History. Delaware Art Museum. Проверено 14 декабря 2011.
Литература[ | ]
- Marsh Jan. Pre-Raphaelite Women: Images of femininity in Pre-Raphaelite art. — London: Artus Books, 1994. — ISBN 1-898799-33-4.
- Wildman Stephen. Waking Dreams, the Art of the Pre-Raphaelites from the Delaware Art Museum. — Art Services International, 2004. — P. 395.
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