Музей ЧерномырдинаСе человек (картина Тициана). Картина се человек
Описание картины Тициана «Се человек»
Датирована 1543 годом, материалы – холст, масло, размеры – 242 на 361 см. Хранится в Художественно-историческом музее, Вена, Австрия.
Художник является самым выдающимся представителем венецианской школы, его известность с эпохи Возрождения и до сегодняшних дней сравнивается с Рафаэлем или Микеланджело. Среди его излюбленных сюжетов были библейские и мифические истории, большое внимание он уделял созданию величественных портретов, для них ему позировали очень влиятельные и состоятельные современники.
В основу этой картины легла сцена из Евангелия от Иоанна. В страстную пятницу, когда народ потребовал казни Иисуса, Понтий Пилат велел воинам избить его и нарядить в «царя»: вместо королевской накидки – красный плащ (багряница), корону заменил терновый венок, а скипетр – тонкая веточка. В таком виде, бледным и измученным изображен сын божий на полотне. Прокуратор своим поступком стремился вызвать жалость у собравшейся толпы. Одетый в золото и лазурь, указывая на подсудимого, он говорит фразу, которая стала крылатой: «Ecce Homo», что значит «се человек», «это человек». Тем самым подчеркивалось, что на ужасную казнь окружающие несправедливо обрекают обычного мужчину. Однако большинство считает приговор верным – вверх взмывают руки, копье, алебарда, стяг… И только девушка, которую мастер выделил цветом, засомневалась и потупила голову, на нее удивленно и непонимающе смотрит ребенок. Кроме нее поражены решением простолюдин и воин на ступеньках переднего плана: первый отвернулся и в изумлении открыл рот, второй – согнувшись, отшатнулся и, боясь, что ноги его подводят, ухватился за щит.
Тициан очень точно передал эмоции, расставил цветовые акценты для создания нужного гнетущего эффекта. С большим реализмом прорисовал лица, фигуры и мышцы, детали нарядов и вооружения, фактуру тканей. Композиция, несмотря на внушительное количество персонажей, хорошо уравновешена, ее хочется рассматривать и анализировать.
Се человек (картина Тициана) Википедия
«Се человек» — картина известного итальянского художника периода Возрождения Тициана Вечеллио, написанная им в 1543 году. Картина является признанным шедевром Тициана 1540-х годов. Продолжая традиции своих монументальных работ, Тициан снова переносит евангельские события в действительность своего времени.
История создания[ | код]
По сообщению Вазари, картина написана для фламандского купца Джованни д’Анна (ван Хаанена), имевшего в Венеции дом на Большом канале в приходе Сан Бенедетто. В 1574 году её там видел французский король Генрих III. По свидетельству Ф. Сансовино, в 1580 году она находилась там же.
В 1620 году куплена герцогом Бекингемским. В 1648 году приобретена правителем Фландрии эрцгерцогом Леопольдом Вильгельмом для его брата императора Фердинанда III. В 1718 году картина передана из Вены в собрание Габсбургов в Праге, в 1723 возвращена в Вену.
Козимо Ридольфи утверждал, что под видом Пилата изображён Пьетро Аретино, под видом бородатого всадника император Карл V, под видом всадника в тюрбане турецкий султан Сулейман. Современные исследователи принимают только первое утверждение Ридольфи, так как сходство Аретино с Пилатом несомненно[1].
Сюжет[ | код]
На ступенях лестницы и на площади, перед Пилатом, указывающим со словами «се человек» на истерзанного пытками Христа, шумит пёстрая и нарядная толпа людей: воины и изысканные юноши, всадники как в рыцарском облачении, так и в восточном стиле, и стражники с алебардами. Как и во «Ведении во храм», картина полна монументального размаха и великолепия: композиция строится на укрупнённых, динамических ритмах, язык поз и жестов аффектирован и усложнён. Историческая драма разыгрывается в мире полного волнения. Оно захватывает участников события стремительным движением; на заднем плане, ярко освещённые, движутся руки невидимых зрителю людей, победоносно поднимаются к небу алебарды, копья и развевающийся стяг.
Особо примечателен образ юноши в левом углу картины. Человек с ужасом и страхом осознаёт случившуюся трагедию. На фоне радостных и беспечных лиц, имеющих власть над Христом, это выглядит с подчёркнутым драматизмом.
См. также[ | код]
Примечания[ | код]
- ↑ Белоусова Н. А. Тициан. — С. 161.
ru-wiki.ru
Се человек (картина Тициана)
«Се человек» — картина известного итальянского художника периода Возрождения Тициана Вечеллио, написанная им в 1543 году. Картина является признанным шедевром Тициана 1540-х годов. Продолжая традиции своих монументальных работ, Тициан снова переносит евангельские события в действительность своего времени.Содержание
- 1 История создания
- 2 Сюжет
- 3 См. также
- 4 Примечания
История создания
По сообщению Вазари, картина написана для фламандского купца Джованни д’Анна (ван Хаанена), имевшего в Венеции дом на Большом канале в приходе Сан Бенедетто. В 1574 году её там видел французский король Генрих III. По свидетельству Ф. Сансовино, в 1580 году она находилась там же.
В 1620 году куплена герцогом Бекингемским. В 1648 году приобретена правителем Фландрии эрцгерцогом Леопольдом Вильгельмом для его брата императора Фердинанда III. В 1718 году картина передана из Вены в собрание Габсбургов в Праге, в 1723 возвращена в Вену.
Козимо Ридольфи утверждал, что под видом Пилата изображён Пьетро Аретино, под видом бородатого всадника император Карл V, под видом всадника в тюрбане турецкий султан Сулейман. Современные исследователи принимают только первое утверждение Ридольфи, так как сходство Аретино с Пилатом несомненно.
Сюжет
На ступенях лестницы и на площади, перед Пилатом, указывающим со словами «се человек» на истерзанного пытками Христа, шумит пёстрая и нарядная толпа людей: воины и изысканные юноши, всадники как в рыцарском облачении, так и в восточном стиле, и стражники с алебардами. Как и во «Ведении во храм», картина полна монументального размаха и великолепия: композиция строится на укрупнённых, динамических ритмах, язык поз и жестов аффектирован и усложнён. Историческая драма разыгрывается в мире полного волнения. Оно захватывает участников события стремительным движением; на заднем плане, ярко освещённые, движутся руки невидимых зрителю людей, победоносно поднимаются к небу алебарды, копья и развевающийся стяг.
Особо примечателен образ юноши в левом углу картины. Человек с ужасом и страхом осознаёт случившуюся трагедию. На фоне радостных и беспечных лиц, имеющих власть над Христом, это выглядит с подчёркнутым драматизмом.
См. также
- Ecce Homo
- Суд Пилата
- Страсти Христовы
Примечания
- ↑ Белоусова Н. А. Тициан. — С. 161.
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Се человек (картина Тициана) — Википедия (с комментариями)
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К:Картины 1543 года«Се человек» — картина известного итальянского художника периода Возрождения Тициана Вечеллио, написанная им в 1543 году. Картина является признанным шедевром Тициана 1540-х годов. Продолжая традиции своих монументальных работ, Тициан снова переносит евангельские события в действительность своего времени.
История создания
По сообщению Вазари, картина написана для фламандского купца Джованни д’Анна (ван Хаанена), имевшего в Венеции дом на Большом канале в приходе Сан Бенедетто. В 1574 году её там видел французский король Генрих III. По свидетельству Ф. Сансовино, в 1580 году она находилась там же.
В 1620 году куплена герцогом Бекингемским. В 1648 году приобретена правителем Фландрии эрцгерцогом Леопольдом Вильгельмом для его брата императора Фердинанда III. В 1718 году картина передана из Вены в собрание Габсбургов в Праге, в 1723 возвращена в Вену.
Козимо Ридольфи утверждал, что под видом Пилата изображён Пьетро Аретино, под видом бородатого всадника император Карл V, под видом всадника в тюрбане турецкий султан Сулейман. Современные исследователи принимают только первое утверждение Ридольфи, так как сходство Аретино с Пилатом несомненно[1].
Сюжет
На ступенях лестницы и на площади, перед Пилатом, указывающим со словами «се человек» на истерзанного пытками Христа, шумит пёстрая и нарядная толпа людей: воины и изысканные юноши, всадники как в рыцарском облачении, так и в восточном стиле, и стражники с алебардами. Как и во «Ведении во храм», картина полна монументального размаха и великолепия: композиция строится на укрупнённых, динамических ритмах, язык поз и жестов аффектирован и усложнён. Историческая драма разыгрывается в мире полного волнения. Оно захватывает участников события стремительным движением; на заднем плане, ярко освещённые, движутся руки невидимых зрителю людей, победоносно поднимаются к небу алебарды, копья и развевающийся стяг.
Особо примечателен образ юноши в левом углу картины. Человек с ужасом и страхом осознаёт случившуюся трагедию. На фоне радостных и беспечных лиц, имеющих власть над Христом, это выглядит с подчёркнутым драматизмом.
См. также
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Примечания
- ↑ Белоусова Н. А. Тициан. — С. 161.
Отрывок, характеризующий Се человек (картина Тициана)
– Конечно, в чем дело? – Andre, я тебя благословлю образом, и ты обещай мне, что никогда его не будешь снимать. Обещаешь? – Ежели он не в два пуда и шеи не оттянет… Чтобы тебе сделать удовольствие… – сказал князь Андрей, но в ту же секунду, заметив огорченное выражение, которое приняло лицо сестры при этой шутке, он раскаялся. – Очень рад, право очень рад, мой друг, – прибавил он. – Против твоей воли Он спасет и помилует тебя и обратит тебя к Себе, потому что в Нем одном и истина и успокоение, – сказала она дрожащим от волнения голосом, с торжественным жестом держа в обеих руках перед братом овальный старинный образок Спасителя с черным ликом в серебряной ризе на серебряной цепочке мелкой работы. Она перекрестилась, поцеловала образок и подала его Андрею. – Пожалуйста, Andre, для меня… Из больших глаз ее светились лучи доброго и робкого света. Глаза эти освещали всё болезненное, худое лицо и делали его прекрасным. Брат хотел взять образок, но она остановила его. Андрей понял, перекрестился и поцеловал образок. Лицо его в одно и то же время было нежно (он был тронут) и насмешливо. – Merci, mon ami. [Благодарю, мой друг.] Она поцеловала его в лоб и опять села на диван. Они молчали. – Так я тебе говорила, Andre, будь добр и великодушен, каким ты всегда был. Не суди строго Lise, – начала она. – Она так мила, так добра, и положение ее очень тяжело теперь. – Кажется, я ничего не говорил тебе, Маша, чтоб я упрекал в чем нибудь свою жену или был недоволен ею. К чему ты всё это говоришь мне? Княжна Марья покраснела пятнами и замолчала, как будто она чувствовала себя виноватою. – Я ничего не говорил тебе, а тебе уж говорили . И мне это грустно. Красные пятна еще сильнее выступили на лбу, шее и щеках княжны Марьи. Она хотела сказать что то и не могла выговорить. Брат угадал: маленькая княгиня после обеда плакала, говорила, что предчувствует несчастные роды, боится их, и жаловалась на свою судьбу, на свекра и на мужа. После слёз она заснула. Князю Андрею жалко стало сестру. – Знай одно, Маша, я ни в чем не могу упрекнуть, не упрекал и никогда не упрекну мою жену , и сам ни в чем себя не могу упрекнуть в отношении к ней; и это всегда так будет, в каких бы я ни был обстоятельствах. Но ежели ты хочешь знать правду… хочешь знать, счастлив ли я? Нет. Счастлива ли она? Нет. Отчего это? Не знаю… Говоря это, он встал, подошел к сестре и, нагнувшись, поцеловал ее в лоб. Прекрасные глаза его светились умным и добрым, непривычным блеском, но он смотрел не на сестру, а в темноту отворенной двери, через ее голову. – Пойдем к ней, надо проститься. Или иди одна, разбуди ее, а я сейчас приду. Петрушка! – крикнул он камердинеру, – поди сюда, убирай. Это в сиденье, это на правую сторону. Княжна Марья встала и направилась к двери. Она остановилась. – Andre, si vous avez. la foi, vous vous seriez adresse a Dieu, pour qu'il vous donne l'amour, que vous ne sentez pas et votre priere aurait ete exaucee. [Если бы ты имел веру, то обратился бы к Богу с молитвою, чтоб Он даровал тебе любовь, которую ты не чувствуешь, и молитва твоя была бы услышана.]Се человек (картина Тициана) - WikiVisually
1. Тициан – Tiziano Vecelli or Tiziano Vecellio, known in English as Titian /ˈtɪʃən/, was an Italian painter, the most important member of the 16th-century Venetian school. He was born in Pieve di Cadore, near Belluno, during his lifetime he was often called da Cadore, taken from the place of his birth. His painting methods, particularly in the application and use of color, would exercise a profound influence not only on painters of the Italian Renaissance, during the course of his long life, Titians artistic manner changed drastically, but he retained a lifelong interest in color. Although his mature works may not contain the vivid, luminous tints of his pieces, their loose brushwork. The exact date of Titians birth is uncertain, when he was an old man he claimed in a letter to Philip II, King of Spain, to have been born in 1474, but this seems most unlikely. Other writers contemporary to his old age give figures that would equate to birthdates between 1473 and after 1482 and he was the son of Gregorio Vecelli and his wife Lucia. His father was superintendent of the castle of Pieve di Cadore, Gregorio was also a distinguished councilor and soldier. Many relatives, including Titians grandfather, were notaries, and the family of four were well-established in the area, at the age of about ten to twelve he and his brother Francesco were sent to an uncle in Venice to find an apprenticeship with a painter. At that time the Bellinis, especially Giovanni, were the artists in the city. There Titian found a group of men about his own age, among them Giovanni Palma da Serinalta, Lorenzo Lotto, Sebastiano Luciani. Francesco Vecellio, his brother, later became a painter of some note in Venice. A fresco of Hercules on the Morosini Palace is said to have one of Titians earliest works. Others were the Bellini-esque so-called Gypsy Madonna in Vienna, and the Visitation of Mary and Elizabeth, now in the Accademia, a Man with a Quilted Sleeve is an early portrait, painted around 1509 and described by Giorgio Vasari in 1568. Scholars long believed it depicted Ludovico Ariosto, but now think it is of Gerolamo Barbarigo, Rembrandt borrowed the composition for his self-portraits. Titian joined Giorgione as an assistant, but many contemporary critics found his work more impressive—for example in exterior frescoes that they did for the Fondaco dei Tedeschi. Their relationship evidently contained a significant element of rivalry, distinguishing between their work at this period remains a subject of scholarly controversy. A substantial number of attributions have moved from Giorgione to Titian in the 20th century, one of the earliest known Titian works, Christ Carrying the Cross in the Scuola Grande di San Rocco, depicting the Ecce Homo scene, was long regarded as by Giorgione. In 1507–1508 Giorgione was commissioned by the state to create frescoes on the re-erected Fondaco dei Tedeschi, Titian and Morto da Feltre worked along with him, and some fragments of paintings remain, probably by Giorgione
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. 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
4. Музей истории искусств – The Kunsthistorisches Museum is an art museum in Vienna, Austria. Housed in its festive palatial building on Ringstraße, it is crowned with an octagonal dome, the term Kunsthistorisches Museum applies to both the institution and the main building. It is the largest art museum in the country and it was opened around 1891 at the same time as the Naturhistorisches Museum, by Emperor Franz Joseph I of Austria-Hungary. The two museums have similar exteriors and face each other across Maria-Theresien-Platz, both buildings were built between 1871 and 1891 according to plans drawn up by Gottfried Semper and Karl Freiherr von Hasenauer. The two Ringstraße museums were commissioned by the Emperor in order to find a shelter for the Habsburgs formidable art collection. The façade was built of sandstone, the building is rectangular in shape, and topped with a dome that is 60 meters high. The inside of the building is decorated with marble, stucco ornamentations, gold-leaf. It was featured in an episode of Museum Secrets on the History Channel and it had been the biggest art theft in Austrian history. Treasure of Nagyszentmiklós Media related to Kunsthistorisches Museum at Wikimedia Commons Official website Spherical panorama of entrance Hofburgs Armory - photo gallery in Flickr
5. Вена – Vienna is the capital and largest city of Austria and one of the nine states of Austria. Vienna is Austrias primary city, with a population of about 1.8 million, and its cultural, economic and it is the 7th-largest city by population within city limits in the European Union. Today, it has the second largest number of German speakers after Berlin, Vienna is host to many major international organizations, including the United Nations and OPEC. The city is located in the part of Austria and is close to the borders of the Czech Republic, Slovakia. These regions work together in a European Centrope border region, along with nearby Bratislava, Vienna forms a metropolitan region with 3 million inhabitants. In 2001, the city centre was designated a UNESCO World Heritage Site, apart from being regarded as the City of Music because of its musical legacy, Vienna is also said to be The City of Dreams because it was home to the worlds first psycho-analyst – Sigmund Freud. The citys roots lie in early Celtic and Roman settlements that transformed into a Medieval and Baroque city and it is well known for having played an essential role as a leading European music centre, from the great age of Viennese Classicism through the early part of the 20th century. The historic centre of Vienna is rich in architectural ensembles, including Baroque castles and gardens, Vienna is known for its high quality of life. In a 2005 study of 127 world cities, the Economist Intelligence Unit ranked the city first for the worlds most liveable cities, between 2011 and 2015, Vienna was ranked second, behind Melbourne, Australia. Monocles 2015 Quality of Life Survey ranked Vienna second on a list of the top 25 cities in the world to make a base within, the UN-Habitat has classified Vienna as being the most prosperous city in the world in 2012/2013. Vienna regularly hosts urban planning conferences and is used as a case study by urban planners. Between 2005 and 2010, Vienna was the worlds number-one destination for international congresses and it attracts over 3.7 million tourists a year. The English name Vienna is borrowed from the homonymous Italian version of the name or the French Vienne. The etymology of the name is still subject to scholarly dispute. Some claim that the name comes from Vedunia, meaning forest stream, which produced the Old High German Uuenia. A variant of this Celtic name could be preserved in the Czech and Slovak names of the city, the name of the city in Hungarian, Serbo-Croatian and Ottoman Turkish has a different, probably Slavonic origin, and originally referred to an Avar fort in the area. Slovene-speakers call the city Dunaj, which in other Central European Slavic languages means the Danube River, evidence has been found of continuous habitation since 500 BC, when the site of Vienna on the Danube River was settled by the Celts. In 15 BC, the Romans fortified the city they called Vindobona to guard the empire against Germanic tribes to the north
6. Вазари, Джорджо – Vasari was born in Arezzo, Tuscany. Recommended at an age by his cousin Luca Signorelli, he became a pupil of Guglielmo da Marsiglia. He was befriended by Michelangelo whose painting style would influence his own, in 1529, he visited Rome where he studied the works of Raphael and other artists of the Roman High Renaissance. Vasaris own Mannerist paintings were admired in his lifetime than afterwards. In 1547 he completed the hall of the chancery in Palazzo della Cancelleria in Rome with frescoes that received the name Sala dei Cento Giorni and he was consistently employed by members of the Medici family in Florence and Rome, and worked in Naples, Arezzo and other places. He also helped to organize the decoration of the Studiolo, now reassembled in the Palazzo Vecchio, aside from his career as a painter, Vasari was also successful as an architect. In Florence, Vasari also built the long passage, now called Vasari Corridor, the enclosed corridor passes alongside the River Arno on an arcade, crosses the Ponte Vecchio and winds around the exterior of several buildings. He also renovated the medieval churches of Santa Maria Novella and Santa Croce, at both he removed the original rood screen and loft, and remodelled the retro-choirs in the Mannerist taste of his time. In Santa Croce, he was responsible for the painting of The Adoration of the Magi which was commissioned by Pope Pius V in 1566 and it was recently restored, before being put on exhibition in 2011 in Rome and in Naples. Eventually it is planned to return it to the church of Santa Croce in Bosco Marengo, in 1562 Vasari built the octagonal dome on the Basilica of Our Lady of Humility in Pistoia, an important example of high Renaissance architecture. In Rome, Vasari worked with Giacomo Barozzi da Vignola and Bartolomeo Ammanati at Pope Julius IIIs Villa Giulia, the Lives also included a novel treatise on the technical methods employed in the arts. The book was rewritten and enlarged in 1568, with the addition of woodcut portraits of artists. The work has a consistent and notorious bias in favour of Florentines, and tends to attribute to them all the developments in Renaissance art – for example, Venetian art in particular, is systematically ignored in the first edition. Between the first and second editions, Vasari visited Venice and while the edition gave more attention to Venetian art. Vasaris biographies are interspersed with amusing gossip, with a few exceptions, however, Vasaris aesthetic judgement was acute and unbiased. He did not research archives for exact dates, as art historians do, and naturally his biographies are most dependable for the painters of his own generation. Modern criticism – with new materials opened up by research – has corrected many of his traditional dates and attributions. Vasari includes a sketch of his own biography at the end of the Lives, according to the historian Richard Goldthwaite, Vasari was one of the earliest authors to use the term competition in its economic sense
7. Венеция – Venice is a city in northeastern Italy and the capital of the Veneto region. It is situated across a group of 118 small islands that are separated by canals and these are located in the shallow Venetian Lagoon, an enclosed bay that lies between the mouths of the Po and the Piave Rivers. Parts of Venice are renowned for the beauty of their settings, their architecture, the lagoon and a part of the city are listed as a World Heritage Site. In 2014,264,579 people resided in Comune di Venezia, together with Padua and Treviso, the city is included in the Padua-Treviso-Venice Metropolitan Area, with a total population of 2.6 million. PATREVE is a metropolitan area without any degree of autonomy. The name is derived from the ancient Veneti people who inhabited the region by the 10th century BC, the city was historically the capital of the Republic of Venice. Venice has been known as the La Dominante, Serenissima, Queen of the Adriatic, City of Water, City of Masks, City of Bridges, The Floating City, and City of Canals. The City State of Venice is considered to have been the first real international financial center which gradually emerged from the 9th century to its peak in the 14th century and this made Venice a wealthy city throughout most of its history. It is also known for its several important artistic movements, especially the Renaissance period, Venice has played an important role in the history of symphonic and operatic music, and it is the birthplace of Antonio Vivaldi. Venice has been ranked the most beautiful city in the world as of 2016, the name Venetia, however, derives from the Roman name for the people known as the Veneti, and called by the Greeks Eneti. The meaning of the word is uncertain, although there are other Indo-European tribes with similar-sounding names, such as the Celtic Veneti, Baltic Veneti, and the Slavic Wends. Linguists suggest that the name is based on an Indo-European root *wen, so that *wenetoi would mean beloved, lovable, a connection with the Latin word venetus, meaning the color sea-blue, is also possible. The alternative obsolete form is Vinegia, some late Roman sources reveal the existence of fishermen on the islands in the original marshy lagoons. They were referred to as incolae lacunae, the traditional founding is identified with the dedication of the first church, that of San Giacomo on the islet of Rialto — said to have taken place at the stroke of noon on 25 March 421. Beginning as early as AD166 to 168, the Quadi and Marcomanni destroyed the center in the area. The Roman defences were again overthrown in the early 5th century by the Visigoths and, some 50 years later, New ports were built, including those at Malamocco and Torcello in the Venetian lagoon. The tribuni maiores, the earliest central standing governing committee of the islands in the Lagoon, the traditional first doge of Venice, Paolo Lucio Anafesto, was actually Exarch Paul, and his successor, Marcello Tegalliano, was Pauls magister militum. In 726 the soldiers and citizens of the Exarchate rose in a rebellion over the controversy at the urging of Pope Gregory II
8. Франция – France, officially the French Republic, is a country with territory in western Europe and several overseas regions and territories. The European, or metropolitan, area of France extends from the Mediterranean Sea to the English Channel and the North Sea, Overseas France include French Guiana on the South American continent and several island territories in the Atlantic, Pacific and Indian oceans. France spans 643,801 square kilometres and had a population of almost 67 million people as of January 2017. It is a unitary republic with the capital in Paris. Other major urban centres include Marseille, Lyon, Lille, Nice, Toulouse, during the Iron Age, what is now metropolitan France was inhabited by the Gauls, a Celtic people. The area was annexed in 51 BC by Rome, which held Gaul until 486, France emerged as a major European power in the Late Middle Ages, with its victory in the Hundred Years War strengthening state-building and political centralisation. During the Renaissance, French culture flourished and a colonial empire was established. The 16th century was dominated by civil wars between Catholics and Protestants. France became Europes dominant cultural, political, and military power under Louis XIV, in the 19th century Napoleon took power and established the First French Empire, whose subsequent Napoleonic Wars shaped the course of continental Europe. Following the collapse of the Empire, France endured a succession of governments culminating with the establishment of the French Third Republic in 1870. Following liberation in 1944, a Fourth Republic was established and later dissolved in the course of the Algerian War, the Fifth Republic, led by Charles de Gaulle, was formed in 1958 and remains to this day. Algeria and nearly all the colonies became independent in the 1960s with minimal controversy and typically retained close economic. France has long been a centre of art, science. It hosts Europes fourth-largest number of cultural UNESCO World Heritage Sites and receives around 83 million foreign tourists annually, France is a developed country with the worlds sixth-largest economy by nominal GDP and ninth-largest by purchasing power parity. In terms of household wealth, it ranks fourth in the world. France performs well in international rankings of education, health care, life expectancy, France remains a great power in the world, being one of the five permanent members of the United Nations Security Council with the power to veto and an official nuclear-weapon state. It is a member state of the European Union and the Eurozone. It is also a member of the Group of 7, North Atlantic Treaty Organization, Organisation for Economic Co-operation and Development, the World Trade Organization, originally applied to the whole Frankish Empire, the name France comes from the Latin Francia, or country of the Franks
9. Генрих III (король Франции) – Henry III was a monarch of the House of Valois who was elected the monarch of the Polish-Lithuanian Commonwealth from 1573 to 1575 and ruled as King of France from 1574 until his death. He was the last French monarch of the Valois dynasty, as the fourth son of King Henry II of France and Catherine de Medici, Henry was not expected to assume the throne of France. He was thus a candidate for the vacant Commonwealth throne. Henrys rule over Commonwealth was brief, but notable, the Henrician Articles he signed into law accepting the Commonwealth throne established Poland as an elective monarchy subject to free election by the Polish nobility. Of his three brothers, two would live long enough to ascend the French throne, but both died young and without a legitimate male heir. He abandoned Commonwealth upon receiving word that he had inherited the throne of France at the age of 22, Henry III was himself a politique, arguing that a strong and religiously tolerant monarchy would save France from collapse. Henry IIIs legitimate heir was his distant cousin Henry, King of Navarre, the Catholic League, led by Henry I, Duke of Guise, sought to exclude Protestants from the succession and championed the Catholic Charles, Cardinal of Bourbon, as Henry IIIs heir. Henry was born at the royal Château de Fontainebleau, the son of King Henry II and Catherine de Medici and grandson of Francis I of France. His older brothers were Francis II of France, Charles IX of France and he was made Duke of Angoulême and Duke of Orléans in 1560, then Duke of Anjou in 1566. He was his mothers favourite, she called him chers yeux and lavished fondness and his elder brother, Charles, grew to detest him, partially because he resented his better health. In his youth, Henry was considered the best of the sons of Catherine de Medici, unlike his father and elder brothers, he had little interest in the traditional Valois pastimes of hunting and physical exercise. Although he was fond of fencing and skilled in it, he preferred to indulge his tastes for the arts. These predilections were attributed to his Italian mother, at one point in his youth he showed a tendency towards Protestantism as a means of rebelling. At the age of nine, calling himself a little Huguenot, he refused to attend Mass, sang Protestant psalms to his sister Margaret and his mother firmly cautioned her children against such behaviour, and he would never again show any Protestant tendencies. Instead, he became nominally Roman Catholic, reports that Henry engaged in same sex relations with his court favourites, known as the mignons, date back to his own time. Certainly he enjoyed relationships with them. The scholar Louis Crompton provides substantial contemporary evidence of Henry IIIs homosexuality, and it is difficult, he writes, to reconcile the king whose use of favourites is so logically strategic with the man who goes to pieces when one of them dies. In 1570, discussions commenced to arrange for Henry to court Queen Elizabeth I of England, Elizabeth, almost 37, was expected by many parties in her country to marry and produce an heir
10. Вильерс, Джордж, 1-й герцог Бекингем – George Villiers, 1st Duke of Buckingham, KG, was an English courtier, statesman, and patron of the arts. He was a favourite—and a lover—of King James I, George Villiers was born in Brooksby, Leicestershire, on 28 August 1592, the son of the minor gentleman Sir George Villiers. His mother Mary, daughter of Anthony Beaumont of Glenfield, Leicestershire, was left an early and educated him for a courtiers life. Villiers took very well to the set by his mother, he could dance and fence well, spoke a little French. Bishop Godfrey Goodman declared Villiers to be the man in all of England, his limbs so well compacted, and his conversation so pleasing. In August 1614 at age twenty-one, Villiers caught the eye of James I at a hunt in Apethorpe, opponents of the kings favourite Robert Carr saw an opportunity to usurp the Earl of Somerset and began promoting Villiers. Money was raised to purchase Villiers a new wardrobe, and intense lobbying secured his appointment as Royal Cupbearer, a position that allowed him to make conversation with the king. Villiers began to appear as a dancer in masques from 1615, in which he could exhibit his grace of movement and beauty of body, under the kings patronage Villiers advanced rapidly through the ranks of the nobility, and his court appointments grew in importance. In 1615 he was knighted as a Gentleman of the Bedchamber, in 1616, when he was made Master of the Kings Horses, he was elevated to the peerage as Baron Whaddon, Viscount Villiers, and made a Knight of the Garter. The next year he was made Earl and in 1618 promoted Marquess of Buckingham, Villiers new rank allowed him to dance side by side with the royal heir Charles I, with whom his friendship developed through his tutoring of the prince in dance. Villiers was appointed Lord Admiral of the Fleet in 1619, since reductions in the peerage had taken place during the Tudor period, Buckingham was now the highest-ranking subject outside the royal family. The personal relationships of James are much debated, with Villiers the last in a succession of handsome young favourites the king lavished with affection, contemporaneous evidence is interpreted by some to suggest that Villiers was James lover. Edward Peyton wrote, the king sold his affections to Sir George Villiers, Jamess nickname for Buckingham was Steenie, after St. Stephen who was said to have had the face of an angel. I wish to speak in my own behalf and not to have it thought to be a defect, for Jesus Christ did the same, Christ had John, and I have George. In a letter to Buckingham in 1623, the King ends with, God bless you, my child and wife. Restoration of Apethorpe Palace in 2004–8 revealed a previously unknown passage linking his bedchamber with that of James, until James I died in 1625, Buckingham was the kings constant companion and closest advisor, enjoying control of all royal patronage. Buckingham used his influence to enrich his relatives and advance their social positions. In his rise to power, Buckingham became connected with the philosopher, Bacon wrote letters of advice to the young favourite and drafted the patent of nobility when Buckingham ascended to the peerage
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Се человек (картина Тициана) — Википедия
Материал из Википедии — свободной энциклопедии
«Се человек» — картина известного итальянского художника периода Возрождения Тициана Вечеллио, написанная им в 1543 году. Картина является признанным шедевром Тициана 1540-х годов. Продолжая традиции своих монументальных работ, Тициан снова переносит евангельские события в действительность своего времени.
По сообщению Вазари, картина написана для фламандского купца Джованни д’Анна (ван Хаанена), имевшего в Венеции дом на Большом канале в приходе Сан Бенедетто. В 1574 году её там видел французский король Генрих III. По свидетельству Ф. Сансовино, в 1580 году она находилась там же.
В 1620 году куплена герцогом Бекингемским. В 1648 году приобретена правителем Фландрии эрцгерцогом Леопольдом Вильгельмом для его брата императора Фердинанда III. В 1718 году картина передана из Вены в собрание Габсбургов в Праге, в 1723 возвращена в Вену.
Козимо Ридольфи утверждал, что под видом Пилата изображён Пьетро Аретино, под видом бородатого всадника император Карл V, под видом всадника в тюрбане турецкий султан Сулейман. Современные исследователи принимают только первое утверждение Ридольфи, так как сходство Аретино с Пилатом несомненно[1].
На ступенях лестницы и на площади, перед Пилатом, указывающим со словами «се человек» на истерзанного пытками Христа, шумит пёстрая и нарядная толпа людей: воины и изысканные юноши, всадники как в рыцарском облачении, так и в восточном стиле, и стражники с алебардами. Как и во «Ведении во храм», картина полна монументального размаха и великолепия: композиция строится на укрупнённых, динамических ритмах, язык поз и жестов аффектирован и усложнён. Историческая драма разыгрывается в мире полного волнения. Оно захватывает участников события стремительным движением; на заднем плане, ярко освещённые, движутся руки невидимых зрителю людей, победоносно поднимаются к небу алебарды, копья и развевающийся стяг.
Особо примечателен образ юноши в левом углу картины. Человек с ужасом и страхом осознаёт случившуюся трагедию. На фоне радостных и беспечных лиц, имеющих власть над Христом, это выглядит с подчёркнутым драматизмом.
- ↑ Белоусова Н. А. Тициан. — С. 161.
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Се человек (картина Тициана) — Википедия РУ
«Се человек» — картина известного итальянского художника периода Возрождения Тициана Вечеллио, написанная им в 1543 году. Картина является признанным шедевром Тициана 1540-х годов. Продолжая традиции своих монументальных работ, Тициан снова переносит евангельские события в действительность своего времени.
По сообщению Вазари, картина написана для фламандского купца Джованни д’Анна (ван Хаанена), имевшего в Венеции дом на Большом канале в приходе Сан Бенедетто. В 1574 году её там видел французский король Генрих III. По свидетельству Ф. Сансовино, в 1580 году она находилась там же.
В 1620 году куплена герцогом Бекингемским. В 1648 году приобретена правителем Фландрии эрцгерцогом Леопольдом Вильгельмом для его брата императора Фердинанда III. В 1718 году картина передана из Вены в собрание Габсбургов в Праге, в 1723 возвращена в Вену.
Козимо Ридольфи утверждал, что под видом Пилата изображён Пьетро Аретино, под видом бородатого всадника император Карл V, под видом всадника в тюрбане турецкий султан Сулейман. Современные исследователи принимают только первое утверждение Ридольфи, так как сходство Аретино с Пилатом несомненно[1].
На ступенях лестницы и на площади, перед Пилатом, указывающим со словами «се человек» на истерзанного пытками Христа, шумит пёстрая и нарядная толпа людей: воины и изысканные юноши, всадники как в рыцарском облачении, так и в восточном стиле, и стражники с алебардами. Как и во «Ведении во храм», картина полна монументального размаха и великолепия: композиция строится на укрупнённых, динамических ритмах, язык поз и жестов аффектирован и усложнён. Историческая драма разыгрывается в мире полного волнения. Оно захватывает участников события стремительным движением; на заднем плане, ярко освещённые, движутся руки невидимых зрителю людей, победоносно поднимаются к небу алебарды, копья и развевающийся стяг.
Особо примечателен образ юноши в левом углу картины. Человек с ужасом и страхом осознаёт случившуюся трагедию. На фоне радостных и беспечных лиц, имеющих власть над Христом, это выглядит с подчёркнутым драматизмом.
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