Музей ЧерномырдинаПадение мятежных ангелов (картина). Картина падение ангелов
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Падение мятежных ангелов (картина) - WikiVisually
1. 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
2. Королевские музеи изящных искусств (Брюссель) – The Royal Museums of Fine Arts of Belgium are a group of art museums in Brussels, Belgium. In 1845 it is decided by royal Decree that a museum is to be founded with works of art of deceswed and this is accorded by Minister Sylvain van de Weyer a national Commission is founded to select important works of art. This commission is presided by the First president Count de Beaufort, other members are, Gustaf Wappers, President of the Royal Museum of Antwerpen. François-Joseph Navez, President of the Académie royale des beaux-arts de Bruxelles, guillaume Geefs Eugène Simonis Tilman-François Suys, professor at the Académie Royale des Beaux-Arts. Much of the members were active in the Royal Academy of Science, Letters and Fine Arts of Belgium. The museums are situated in the capital Brussels in the area on the Coudenberg. There are six museums connected with the Royal Museum, and two of them, are in the main building, the Royal Museum contains over 20,000 drawings, sculptures, and paintings, which date from the early 15th century to the present. The museum has a collection of Flemish painting, among them paintings by Bruegel and Rogier van der Weyden, Robert Campin, Anthony van Dyck. The museum is also proud of its Rubens Room, which more than 20 paintings by the artist. The painting Landscape with the Fall of Icarus, long-attributed to Brueghel, is located here and forms the subject of W. H. Audens famous poem Musée des Beaux Arts, named after the museum. The chief curators of the museum have been or are, from 1961 till 1984, balat was the kings principal architect, and this was one part of the kings vast building program for Belgium. The building was completed in 1887, and stands as an example of the Beaux-Arts architecture use of themed statuary to assert the identity, the finial, gilded Genius of Art was also designed by de Groot. The two bas-relief panels are Music by Thomas Vincotte and Industrial Arts by Charles Brunin, the two bronze groups on pedestals represent The Crowning of Art by Paul de Vigne, and The Teaching of Art by Charles van der Stappen. On the side of the building, a memorial commemorates five members of the Mouvement National Royaliste, a resistance group, killed during the liberation of Brussels on 3–4 September 1944
3. Брюссель – The City of Brussels is the largest municipality of the Brussels-Capital Region, and the de jure capital of Belgium. The City of Brussels covers most of the Regions centre, as well as northern outskirts where it borders municipalities in Flanders and it is the administrative centre of the European Union. On 1 January 2016, the City of Brussels had a population of 178,552. The total area is 32.61 km2 which gives a density of 5,475 inhabitants per square kilometre. As of 2007, there were approximately 50,000 registered non-Belgians in the City of Brussels, at first, the City of Brussels was simply defined, being the area within the second walls of Brussels, the modern-day small ring. As the city grew, the villages grew as well, eventually growing into a contiguous city. The construction of Avenue Louise was commissioned in 1847 as an avenue bordered by chestnut trees that would allow easy access to the popular recreational area of the Bois de la Cambre. However, fierce resistance to the project was put up by the town of Ixelles through whose land the avenue was supposed to run. After years of negotiations, Brussels finally annexed the narrow band of land needed for the avenue plus the Bois de la Cambre itself in 1864. That decision accounts for the unusual southeastern protrusion of the City of Brussels, the Université Libre de Bruxelles Solbosch campus is also part of the City of Brussels, partially accounting for the bulge in the southeast end. Unlike most of the municipalities in Belgium, the ones located in the Brussels-Capital Region were not merged with others during mergers occurring in 1964,1970, however, a few neighbouring municipalities have been merged into the City of Brussels, including Haren, Laken and Neder-Over-Heembeek in 1921. These comprise the northern bulge in the municipality, to the south-east is also a strip of land along Avenue Louise that was annexed from the Ixelles municipality
4. 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
5. Падшие ангелы – A fallen angel is a wicked or rebellious angel that has been cast out of heaven. The term fallen angel does not appear in the Bible, but it is used of angels who sinned, of angels cast down to the earth in the War in Heaven, of Satan, demons, the term has become popular in fictional literature regarding angels. In the period preceding the composition of the New Testament, some sects of Judaism identified the sons of God of Genesis 6. Some scholars consider it most likely that this Jewish tradition of fallen angels predates, even in written form, lester L. Grabbe calls the story of the sexual intercourse of angels with women an old myth in Judaism. Indeed, until the mid-2nd century AD, Jewish writing can be taken to identify the sons of God of Gen 6,1 and 4 as angels, Rabbinic Judaism and Christian authorities rejected the tradition. Those who adopted the tradition viewed the sons of God as fallen angels who married human women and by unnatural union begot the Nephilim. The reference to heavenly beings called Watchers originates in Daniel 4, the Greek word for watchers is ἐγρήγοροι egrḗgoroi, pl. of egrḗgoros, literally wakeful. The Greek term was transcribed in the Jewish pseudepigraphon Second Book of Enoch as Grigori and these Watchers became enamored with human women, and had intercourse with them. The offspring of these unions, and the knowledge they were given, corrupted human beings, a number of apocryphal works, including 1 Enoch link this transgression with the Great Deluge. This fact was adopted by early Christianity, but abandoned by Rabbinic Judaism, during the period immediately before the rise of Christianity, the intercourse between these Watchers and human women was often seen as the first fall of the angels. The Slavonic Second Book of Enoch is problematic as evidence for Jewish belief as it has been heavily redacted by Christian transmission, the Grigori are identified with the Watchers of 1 Enoch. In The Old Testament Pseudepigrapha, Apocalypic Literature and Testaments edited by James H, and threw him out from the height with his angels, and he was flying in the air continuously above the bottomless. H. The Hebrew Bible personifies Satan, as Lucifer, as a character in three places, always inferior to Gods power, it portrays him as an accuser, a seducer. It uses the Hebrew word, which means adversary, elsewhere to speak of human opponents or some evil influence, in Christianity, Satan is often seen as the leader of the fallen angels. In Luke 10,18 Jesus says, I saw Satan fall like lightning from heaven, while the New Testament thus mentions Satan falling from Heaven, it never says that he was an angel, only that he masquerades as one, in 2 Corinthians 11,14. However, the concept of angels is not foreign to the New Testament, both 2 Peter 2,4 and Jude 1,6 refer to angels who have sinned against God. In the New Testament, Revelation 12, 3–14 speaks of a red dragon whose tail swept a third part of the stars of heaven. The fall of Lucifer finds its earliest identification with an angel in Origen, based on an interpretation of Isaiah 14, 1–17
6. Архангел Михаил – Michael is an archangel in Judaism, Christianity, and Islam. In Roman Catholic, Eastern Orthodox, Anglican, and Lutheran traditions, he is called Saint Michael the Archangel, in the Oriental Orthodox and Eastern Orthodox traditions, he is called Taxiarch Archangel Michael or simply Archangel Michael. Michael is mentioned three times in the Book of Daniel, in the New Testament Michael leads Gods armies against Satans forces in the Book of Revelation, where during the war in heaven he defeats Satan. In the Epistle of Jude Michael is specifically referred to as the archangel Michael, by the 6th century, devotions to Archangel Michael were widespread both in the Eastern and Western Churches. Over time, teachings on Michael began to vary among Christian denominations, Michael is mentioned three times in the Hebrew Scriptures, all in the book of Daniel. The prophet Daniel experiences a vision after having undergone a period of fasting, Daniel 10, 13-21 describes Daniels vision of an angel who identifies Michael as the protector of Israel. At Daniel 12,1, Daniel is informed that Michael will arise during the time of the end, the Book of Revelation describes a war in heaven in which Michael, being stronger, defeats Satan. After the conflict, Satan is thrown to earth along with the fallen angels, in the Epistle of Jude 1,9, Michael is referred to as an archangel when he again confronts Satan. A reference to an archangel also appears in the First Epistle to the Thessalonians 4,16 and this archangel who heralds the second coming of Christ is not named, but is often associated with Michael. Michael, is one of the two mentioned in the Quran, alongside Jibreel. In the Quran, Michael is mentioned only, in Sura 2,98, Whoever is an enemy to God, and His angels and His messengers. Then, God is an enemy to the disbelievers, some Muslims believe that the reference in Sura 11,69 is Michael, one of the three angels who visited Abraham. Michaels enmity with Samael dates from the time when the latter was thrown down from heaven, Samael took hold of the wings of Michael, whom he wished to bring down with him in his fall, but Michael was saved by God. But appeal to Michael seems to have more common in ancient times. Thus Jeremiah is said to have addressed a prayer to him, the rabbis declare that Michael entered upon his role of defender at the time of the biblical patriarchs. Thus, according to Rabbi Eliezer ben Jacob, it was Michael who rescued Abraham from the furnace into which he had been thrown by Nimrod. It was Michael, the one that had escaped, who told Abraham that Lot had been taken captive, and he announced to Sarah that she would bear a son and he rescued Lot at the destruction of Sodom. It is said that Michael prevented Isaac from being sacrificed by his father by substituting a ram in his place, later Michael prevented Laban from harming Jacob
7. 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
8. 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
9. 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
10. Вавилонская башня (картина) – The Tower of Babel was the subject of three paintings by Pieter Bruegel the Elder. The first, a painted on ivory, was painted while Bruegel was in Rome and is now lost. The two surviving paintings, often distinguished by the prefix Great and Little are in the Kunsthistorisches Museum, Vienna, both are oil paintings on wood panels. The Rotterdam painting is about half the size of the Vienna one, in broad terms they have exactly the same composition, but at a detailed level everything is different, whether in the architecture of the tower, the sky and the landscape around the tower. In Vienna the tower rises at the edge of a large city, Bruegel had visited Rome in 1552–1553. The Tower was also symbolic of the turmoil between the Catholic church and the polyglot Protestant religion that was increasingly popular in the Netherlands. The subject may have had a specific topicality, as the famous Polyglot Bible in six languages, although at first glance the tower appears to be a stable series of concentric pillars, upon closer examination it is apparent that none of the layers lies at a true horizontal. Rather the tower is built as an ascending spiral, the workers in the painting have built the arches perpendicular to the slanted ground, thereby making them unstable and a few arches can already be seen crumbling. The foundation and bottom layers of the tower had not been completed before the layers were constructed. Lucas van Valckenborch, a contemporary of Bruegels, also painted the Tower of Babel in the 1560s and later in his career, both were part of a larger tradition of painting the tower during the 16th and 17th centuries. The story of the Tower of Babel was interpreted as an example of pride punished, moreover, the hectic activity of the engineers, masons and workmen points to a second moral, the futility of much human endeavour. Nimrods doomed building was used to illustrate this meaning in Sebastian Brants Ship of Fools Bruegels knowledge of building procedures and techniques is considerable and correct in detail. Both towers are shown partly-built with stone facings over a massive brick framework, grand and formal architecture of this sort is not a usual interest of Bruegel in either paintings or drawings, although it was typical subject matter for many of his contemporaries. There are no surviving drawings that are studies for this or any other of Bruegels paintings and this is despite indications that Bruegel did make use of preparatory studies. Both Tower versions are full of the type of details which are likely to have worked out in sketches first. Except for a lack of mountains, the paintings contain the ingredients of the world landscape. The Vienna tower is built around a very small mountain. The Vienna painting is signed and dated Brvegel, M. CCCCC. LXIII, on the stone block directly in front of the king
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Падение мятежных ангелов (картина)
Падение мятежных ангелов — картина фламандского живописца Питера Брейгеля Старшего, написанная в 1562 году. Картина хранится и экспонируется в Брюссельских Королевских музеях изящных искусств.Описание
На картине изображена сцена падения ангелов. Восставшие против Бога ангелы падают вниз, в ад. При этом небеса изображены в виде белого круга вверху посередине картины. Фигуры в нижней части картины обнажены, превращены в уродливых монстров с животными частями тел. Ад более плотен, хаотичен, тёмен, чем верхняя часть полотна.
Детали картины
- Детали
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A Good Angel
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Падшие ангелы
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Fighting the Rebels
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Монстры
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Архангел Михаил
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Великая битва
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Люди-звери
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There are excerpts from wikipedia on this article and video
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История одной картины. «Падение мятежных ангелов» Питера Брейгеля Старшего
Питер Брейгель Старший родился между 1525 и 1530 годами в небольшом городе Бреда, Нидерланды. Он начинал как график, затем обучался у придворного художника короля Испании Карла V. Работал в Антверпене и Брюсселе.
Он восхищался творчеством Иеронима Босха (1450-1516), чьё влияние чуть позже заметно скажется на Питере как на живописце. Можно даже сказать, что Брейгель впоследствии будет писать всевозможные вариации на картины великого мастера.
В творчестве живописца сложно переплетаются народный юмор, лиризм и трагизм, интерес к бытовым деталям. Самыми известными его работами считаются «Падение Икара» (1558), «Триумф смерти» (1562), «Поклонения волхвов» (1564), цикл из 6-ти картин «Времена года» (1565) и, конечно же, «Падение мятежных ангелов» (1562).
Питер Брейгель старший «Падение мятежных ангелов», 1562 г. Портрет П. Брейгеля Старшего кисти Доминика Лимпсония, 1572 г.«Падение мятежных ангелов»
Картина была написана в 1562 году маслом на дереве. Сегодня хранится и экспонируется в Королевском музее изящных искусств в Брюсселе.
В основе сюжета ничто иное, как апокалипсис, когда все живущие на земле погрязли в жестокости и бессмыслице. Ангелы, восставшие в гордыне против Бога, падают ниц. Им открывается лишь один путь – ад, и стезя эта неминуема.
В центре полотна Архангел Михаил в золотых доспехах и сине-бирюзовом плаще сражается с семиглавым драконом, разглядеть которого практически невозможно в общем хаосе. В правой руке Архангела меч с золотой рукоятью, в левой – щит с красным крестом.
Над всем этим действием возвышается сияющий шар – то ли солнце, то ли обитель ангелов – рай. Как и в любой сказке, здесь присутствуют как добрые, так и злые персонажи. Светлые ангелы повергают тёмное войско неверных. Каждое движение небесных жителей в полной мере говорит об их внеземном происхождении. Поверженные приобретают облик ужасающих монстров, которым чуждо всё человеческое. Их глаза наполнены ужасом, рты раскрыты в пронзительном немом возгласе.
Автор подчёркивает добро светлыми красками. Нижняя же половина картины залита тёмными оттенками, превращаясь в единый сгусток зла. Здесь вы не найдете иссиня-чёрного чёртика, рисуемого в воображении с детства – рога, козлиные ноги и копыта, свиной пятачок, вороньи крылья и горящие глаза. Зато здесь полно всякой нечисти: смесь насекомых, рыб, птиц и иных существ, не поддающихся описанию. Впрочем, всё как у Босха…
«Падение мятежных ангелов». Фрагмент – Великая битва «Падение мятежных ангелов». Фрагмент – Люди-звери «Падение мятежных ангелов». Фрагмент – Архангел МихаилКто же главный монстр?
Исследователи в один голос заявляют, что главным злом, изображённом на полотне, является не сатана, не дракон и вовсе не силы тьмы, а… Испания! Дело в том, что этот период истории знаменуется противостоянием Испании и Голландии, которое впоследствии вылилось в Восьмидесятилетнюю войну (1568-1648), более известную как Нидерландская революция.
В год, когда была написана картина, в Нидерландах была сформирована протестантская оппозиция против власти испанской короны. Стоит сказать, что в результате длительной борьбы Нидерландская республика была признана в качестве независимого государства.
«Падение мятежных ангелов». Фрагмент – Хороший ангел «Падение мятежных ангелов». Фрагмент – Падшие ангелы «Падение мятежных ангелов». Фрагмент – Сражаясь с повстанцами «Падение мятежных ангелов». Фрагмент – Монстры"Истолковать логически картину «Падение мятежных ангелов» трудно, да и бессмысленно. Яснее выразить ужас своего времени Брейгель пока не мог", – говорил Львов Сергей Львович. И действительно некоторые моменты, погрязнув в общем сюжете, не поддаются объяснению, да и не требуют этого. Автор доносил до нас суть – противостояние против злейшего врага, кто бы им не являлся. И это сражение не может закончиться ничем другим, кроме победы.
Все представленные в статье произведения искусства являются общественным достоянием
Источники изображений: 1, 2
Источники и дополнительные ссылки по теме:
Питер Брейгель Старший Падение мятежных ангелов Великие художники. Падение мятежных ангелов Описание картины Питера Брейгеля Старшего «Падение мятежных ангелов» Брейгель Питер, нидерландский живописец
Автор статьи & @labunya
Приглашаем авторов в сообщество «Мастерская художников»halls.cpeda.space
Картины, описание картин — Падение ангелов
Опи сание картины Питера Брейгеля: Падение ангелов.
Брейгель создал это полотно под воздействием на него другого художника Босха. Фактически немного спародировал его. Как известно, Босх всё устрашал – у него лица были уродливы, чудовища были страшны, всё было как-то жутковатое.Брейгель создал точно такое же жуткое представление на полотне. Только тут старая история, точнее легенда о падении ангелов из рая. Падение белых и благородных в самую жуть, в самое пекло.Сверху мы видим яркий круг – это видимо рай, оттуда летят тени. И мы видим, как крылатые ангелы трубят в трубы и сражаются с нечестью. И уж тут художник постарался на славу – кого только тут нет. Причём примитивного чёрта с копытцами вы вряд ли найдёте в этом месиве чудовищ. Но вот жаб, рыб и прочее смешанное с чем-то другим навалом. И всё это наступает на ангелов.Всё это их одолевает и захватывает. Из распоротых брюх чудовищ выползают, вылетают, выходят новые чудовища. Это не прекращающийся процесс. Война идёт такая, что крылья у ангелов уже не белого цвета, а почти кровавого – бледно-розовые, тёмно-красные. Кто-то из ангелов уже погиб и превратился в чудовище, кому-то предстоит таковыми стать, но сражение идёт.Зачем Брейгелю надо было создавать такое полотно? Наверняка, это заказ от священнослужите ля. И скорее всего, это было сделано для устрашения неграмотных крестьян. Да тут любой убоится нарушать десять заповедей и попасть в ад, если там живёт такое. Что до страха перед грехом – то художник добился своей цели. Что, правда, то, правда. Но если судить чисто за работу, то и тут он не подкачал.Хоть и попытался работать немного не в своём стиле, но всё же чувствуется его умение, его подача. У него, кстати, не так много подобных работ, но порой иногда он обращается к теме смерти. Правда, в иной форме – рисуя натюрморт с черепом, как напоминание о короткой жизни человека.
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