Музей ЧерномырдинаКаприччио (живопись). Картины каприччио
Каприччио (живопись) — Туркмения ВиКи
Каприччио с видами Рима. Панини, 1758 У этого термина существуют и другие значения, см. Каприччо. Каприччио (итал. capriccio, буквально «каприз») — жанр пейзажной живописи, популярный в XVII—XVIII веках. На картинах этого жанра изображались архитектурные фантазии, в основном руины вымышленных античных сооружений. Для оживления пейзажа нередко использовался стаффаж. Каприччио тесно связан с жанром ведуты. На некоторых картинах элементы каприччио могут сочетаться с другими жанрами.
Жанр достиг своего совершенства в полотнах Джованни Паоло Панини. Мастерами каприччио также были Марко Риччи, Каналетто и Джованни Пиранези. Среди более поздних картин можно отметить «Дань сэру Кристоферу Рену» и «Мечту профессора» Чарльза Кокерелла, а также работы Джозефа Гэнди[en]. В наше время в этом жанре работает художник Карл Лоубин (Carl Laubin)[1].
В более широком смысле термин «каприччио» может обозначать фантастические картины вообще. Примером может служить серия гравюр «Vari capricci» (Разнообразные причуды) Джованни Тьеполо (опубликованная в 1743 году), где можно видеть развалины древних статуй и руин, но основное внимание привлекают бродящие поблизости люди в экзотических одеяниях — воины, философы, молодёжь. Гравюры не подписаны, и догадываться об их смысле можно только по самим изображениям. Впоследствии он написал похожую серию гравюр под названием «Scherzi di fantasia» (Шутки фантазии). Его сын Джованни Доменико также создавал подобные работы по примеру отца.
Франсиско Гойя написал известную серию офортов «Капричос», а также использовал это слово в полном названии серии «Бедствия войны». Однако эти работы далеки от беззаботного духа тех картин, которые обычно называют термином «каприччио»: они изображают современную художнику жизнь Испании в мрачной гротескной манере.
Каприччио (живопись) Википедия
Каприччио с видами Рима. Панини, 1758 У этого термина существуют и другие значения, см. Каприччо. Каприччио (итал. capriccio, буквально «каприз») — жанр пейзажной живописи, популярный в XVII—XVIII веках. На картинах этого жанра изображались архитектурные фантазии, в основном руины вымышленных античных сооружений. Для оживления пейзажа нередко использовался стаффаж. Каприччио тесно связан с жанром ведуты. На некоторых картинах элементы каприччио могут сочетаться с другими жанрами.
Жанр достиг своего совершенства в полотнах Джованни Паоло Панини. Мастерами каприччио также были Марко Риччи, Каналетто и Джованни Пиранези. Среди более поздних картин можно отметить «Дань сэру Кристоферу Рену» и «Мечту профессора» Чарльза Кокерелла, а также работы Джозефа Гэнди[en]. В наше время в этом жанре работает художник Карл Лоубин (Carl Laubin)[1].
В более широком смысле термин «каприччио» может обозначать фантастические картины вообще. Примером может служить серия гравюр «Vari capricci» (Разнообразные причуды) Джованни Тьеполо (опубликованная в 1743 году), где можно видеть развалины древних статуй и руин, но основное внимание привлекают бродящие поблизости люди в экзотических одеяниях — воины, философы, молодёжь. Гравюры не подписаны, и догадываться об их смысле можно только по самим изображениям. Впоследствии он написал похожую серию гравюр под названием «Scherzi di fantasia» (Шутки фантазии). Его сын Джованни Доменико также создавал подобные работы по примеру отца.
Франсиско Гойя написал известную серию офортов «Капричос», а также использовал это слово в полном названии серии «Бедствия войны». Однако эти работы далеки от беззаботного духа тех картин, которые обычно называют термином «каприччио»: они изображают современную художнику жизнь Испании в мрачной гротескной манере.
Примечания
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Репродукция картины "Архитектурное каприччио" Франческо Гварди
Интернет-магазин BigArtShop представляет большой каталог картин художника Франческо Гварди. Вы можете выбрать и купить понравившиеся репродукции картин Франческо Гварди на натуральном холсте.
Франческо Гварди родился в семье живописца Доменико Гварди в Венеции, где и провел всю свою жизнь. Живописи учился в мастерской отца, помогая ему и старшему брату, также известному художнику Джованни Антонио Гварди, руководившему мастерской отца. Их семья выполняла большие заказы: алтарные образы для церквей, полотна на исторические и мифологические сюжеты, портреты для индивидуальных заказчиков, картины с изображением цветов в манере венских живописцев.
Первая самостоятельная подписная работа Франческо «Святой в экстазе» датируется 1739 г. Она считается вольной копией полотна Пьяцетты.
Впоследствии Франческо Гварди обратился к ведуте и каприччио, возможно под влиянием творчества Каналетто.
В ранних ведутах Франческо изображает архитектурные ансамбли пьяцца Сан Марко и Пьяцетты, которые любил писать и Каналетто.
Талант Гварди в наибольшей степени раскрылся в произведениях 1770-90-х гг. В эти годы им создавались ведуты парадного, документального характера и более камерные виды, каприччио.
В 1784 художник был избран членом Академии, удостоившись этого звания лишь в 72 года.
Особое место в творчестве Гварди занимают поздние работы — «Серая Лагуна» «Пейзаж с воздушным шаром» «Рио деи Мендиканти» «Дворик виллы» «Пожар в квартале Сан Маркуола». Они стали высшими достижениями не только в творчестве самого художника, но и всей европейской пейзажной живописи XVIII века.
Текстура холста, качественные краски и широкоформатная печать позволяют нашим репродукциям Франческо Гварди не уступать оригиналу. Холст будет натянут на специальный подрамник, после чего картина может быть оправлена в выбранный Вами багет.
bigartshop.ru
Каприччио (живопись) - WikiVisually
1. Пейзаж – In other works, landscape backgrounds for figures can still form an important part of the work. Sky is almost always included in the view, and weather is often an element of the composition, detailed landscapes as a distinct subject are not found in all artistic traditions, and develop when there is already a sophisticated tradition of representing other subjects. The two main traditions spring from Western painting and Chinese art, going well over a thousand years in both cases. Landscape views in art may be imaginary, or copied from reality with varying degrees of accuracy. If the primary purpose of a picture is to depict an actual, specific place, especially including buildings prominently, within a few decades it was used to describe vistas in poetry, and eventually as a term for real views. However the cognate term landscaef or landskipe for a patch of land had existed in Old English. The earliest pure landscapes with no figures are frescos from Minoan Greece of around 1500 BCE. The frescos from the Tomb of Nebamun, now in the British Museum, are a famous example. These were frequently used, as in the illustrated, to bridge the gap between a foreground scene with figures and a distant panoramic vista, a persistent problem for landscape artists. The Chinese style generally showed only a distant view, or used dead ground or mist to avoid that difficulty, aesthetic theories in both regions gave the highest status to the works seen to require the most imagination from the artist. They were often also poets whose lines and images illustrated each other, a revival in interest in nature initially mainly manifested itself in depictions of small gardens such as the Hortus Conclusus or those in millefleur tapestries. The frescos of figures at work or play in front of a background of trees in the Palace of the Popes. Several frescos of gardens have survived from Roman houses like the Villa of Livia, a particular advance is shown in the less well-known Turin-Milan Hours, now largely destroyed by fire, whose developments were reflected in Early Netherlandish painting for the rest of the century. Landscape backgrounds for various types of painting became prominent and skilful during the 15th century. The Italian development of a system of graphical perspective was now known all over Europe. Indeed, certain styles were so popular that they became formulas that could be copied again and again, after the publication of the Small Landscapes, landscape artists in the Low Countries either continued with the world landscape or followed the new mode presented by the Small Landscapes. The popularity of landscape scenes can be seen in the success of the painter Frans Post. Salvator Rosa gave picturesque excitement to his landscapes by showing wilder Southern Italian country, there are different styles and periods, and subgenres of marine and animal painting, as well as a distinct style of Italianate landscape
2. Живопись – Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
3. Архитектура – Architecture is both the process and the product of planning, designing, and constructing buildings and other physical structures. Architectural works, in the form of buildings, are often perceived as cultural symbols. Historical civilizations are often identified with their surviving architectural achievements, Architecture can mean, A general term to describe buildings and other physical structures. The art and science of designing buildings and nonbuilding structures, the style of design and method of construction of buildings and other physical structures. A unifying or coherent form or structure Knowledge of art, science, technology, the design activity of the architect, from the macro-level to the micro-level. The practice of the architect, where architecture means offering or rendering services in connection with the design and construction of buildings. The earliest surviving work on the subject of architecture is De architectura. According to Vitruvius, a building should satisfy the three principles of firmitas, utilitas, venustas, commonly known by the original translation – firmness, commodity. An equivalent in modern English would be, Durability – a building should stand up robustly, utility – it should be suitable for the purposes for which it is used. Beauty – it should be aesthetically pleasing, according to Vitruvius, the architect should strive to fulfill each of these three attributes as well as possible. Leon Battista Alberti, who elaborates on the ideas of Vitruvius in his treatise, De Re Aedificatoria, saw beauty primarily as a matter of proportion, for Alberti, the rules of proportion were those that governed the idealised human figure, the Golden mean. The most important aspect of beauty was, therefore, an inherent part of an object, rather than something applied superficially, Gothic architecture, Pugin believed, was the only true Christian form of architecture. The 19th-century English art critic, John Ruskin, in his Seven Lamps of Architecture, Architecture was the art which so disposes and adorns the edifices raised by men. That the sight of them contributes to his health, power. For Ruskin, the aesthetic was of overriding significance and his work goes on to state that a building is not truly a work of architecture unless it is in some way adorned. For Ruskin, a well-constructed, well-proportioned, functional building needed string courses or rustication, but suddenly you touch my heart, you do me good. I am happy and I say, This is beautiful, le Corbusiers contemporary Ludwig Mies van der Rohe said Architecture starts when you carefully put two bricks together. The notable 19th-century architect of skyscrapers, Louis Sullivan, promoted an overriding precept to architectural design, function came to be seen as encompassing all criteria of the use, perception and enjoyment of a building, not only practical but also aesthetic, psychological and cultural
4. Фантазия – Fantasy in a psychological sense is broadly used to cover two different senses, conscious and unconscious. In the unconscious sense, it is sometimes spelled phantasy, a fantasy is a situation imagined by an individual that expresses certain desires or aims on the part of its creator. Fantasies sometimes involve situations that are unlikely, or they may be quite realistic. Fantasies can also be sexual in nature, another, more basic meaning of fantasy is something which is not real, as in perceived explicitly by any of the senses, but exists as an imagined situation of object to subject. Fantasy, when pushed to the extreme, is a trait of narcissistic personality disorder. Other researchers and theorists find that fantasy has beneficial elements — providing small regressions, a similarly positive view of fantasy was taken by Sigmund Freud who considered fantasy a defence mechanism. He considered that men and women cannot subsist on the scanty satisfaction which they can extort from reality and we simply cannot do without auxiliary constructions, as Theodor Fontane once said. This activity is fantasying. continued as day-dreaming, daydreams for Freud were thus a valuable resource. These day-dreams are cathected with an amount of interest, they are carefully cherished by the subject. Such phantasies may be unconscious just as well as conscious, Melanie Klein extended Freuds concept of fantasy to cover the developing childs relationship to a world of internal objects. In her thought, this kind of play activity inside the person is known as unconscious fantasy, and these phantasies are often very violent and aggressive. They are different from ordinary day-dreams or fantasies, a paper by Susan Isaacs on The nature and function of Phantasy. has been generally accepted by the Klein group in London as a fundamental statement of their position. As a defining feature, Kleinian psychoanalysts regard the unconscious as made up of phantasies of relations with objects and these are thought of as primary and innate, and as the mental representations of instincts. the psychological equivalents in the mind of defence mechanisms. Isaacs however claimed that Freuds hallucinatory wish-fulfilment and his, Lacan engaged from early on with the phantasies revealed by Melanie Klein. the imago of the mother. this shadow of the bad internal objects — with the Imaginary. Lacan came to believe that the phantasy is never anything more than the screen that conceals something quite primary, the goal of therapy thus became la traversee du fantasme, the crossing over, traversal, or traversing of the fundamental fantasy. For Lacan, The traversing of fantasy involves the assumption of a new position with respect to the Other as language. The question he was left with was What, then, does he who has passed through the experience. who has traversed the radical phantasy. become, the postmodern intersubjectivity of the 21st century has seen a new interest in fantasy as a form of interpersonal communication. Here, we are told, We need to go beyond the pleasure principle, the reality principle, all other imaginable emotions, and thus envisage emotional fantasies as a possible means of moving beyond stereotypes to more nuanced forms of personal and social relating
5. Руины – Natural disaster, war and depopulation are the most common root causes, with many structures becoming progressively derelict over time due to long-term weathering and scavenging. Many ruins have become UNESCO World Heritage Sites in recent years, to identify, ancient cities were often highly militarized and fortified defensive settlements. In times of war they were the focus of armed conflict. Entire cities have also been ruined, and some occasionally lost completely, the ancient city of Pompeii was completely lost during a volcanic eruption in the 1st century AD, its uncovered ruins now preserved as a World Heritage Site. The city of Lisbon was totally destroyed in 1755 by an earthquake and tsunami. Apart from acts of war, some important historic buildings have fallen victim to deliberate acts of destruction as a consequence of social, political, marble was still being burned for agricultural lime in the Roman Camapgna into the nineteenth century. In Europe, many buildings suffered as a result of the politics of the day. In the 16th century, the English monarch Henry VIII set about confiscating the property of monastic institutions in a campaign which known as the Dissolution of the Monasteries. Many abbeys and monsateries fell into ruin when their assets, including lead roofs, were stripped, following World War II, a number of European historic buildings fell into ruin as a result of taxation policies, which required all structures with roofs to pay substantial property tax. The owners of buildings, like Fetteresso Castle and Slains Castle in Scotland, deliberately destroyed their roofs in protest at, and defiance of. Post-colonial Ireland has encouraged the ruin of grand Georgian houses, symbols of British imperialism, however, sometimes tower basements remain, because their removal can sometimes be expensive. One example of such a basement is the basement of the radio mast of Deutschlandsender Herzberg/Elster. The basements of large wooden towers such as Transmitter Ismaning may also be left behind, the contemplation of rust belt post-industrial ruins is in its infancy. The new sense of historicism that accompanied neoclassicism led some artists, in the period of Romanticism ruins were frequent object for painters, place of meetings of romantic poets, nationalist students etc. Joseph Michael Gandy completed for Sir John Soane in 1832 an atmospheric watercolor of the architects vast Bank of England rotunda as an overgrown ruin. Ruinenwert was popularized in the 20th century by Albert Speer while planning for the 1936 Summer Olympics, for example, the ruins of Dunstanburgh Castle in England inspired Turner to create several paintings, in 1989 the ruined Dunnottar Castle in Scotland was used for filming of Hamlet
6. Античность – It is the period in which Greek and Roman society flourished and wielded great influence throughout Europe, North Africa and Southwestern Asia. Conventionally, it is taken to begin with the earliest-recorded Epic Greek poetry of Homer, and continues through the emergence of Christianity and it ends with the dissolution of classical culture at the close of Late Antiquity, blending into the Early Middle Ages. Such a wide sampling of history and territory covers many disparate cultures, Classical antiquity may refer also to an idealised vision among later people of what was, in Edgar Allan Poes words, the glory that was Greece, and the grandeur that was Rome. The culture of the ancient Greeks, together with influences from the ancient Near East, was the basis of art, philosophy, society. The earliest period of classical antiquity takes place before the background of gradual re-appearance of historical sources following the Bronze Age collapse, the 8th and 7th centuries BC are still largely proto-historical, with the earliest Greek alphabetic inscriptions appearing in the first half of the 8th century. Homer is usually assumed to have lived in the 8th or 7th century BC, in the same period falls the traditional date for the establishment of the Ancient Olympic Games, in 776 BC. The Phoenicians originally expanded from Canaan ports, by the 8th century dominating trade in the Mediterranean, carthage was founded in 814 BC, and the Carthaginians by 700 BC had firmly established strongholds in Sicily, Italy and Sardinia, which created conflicts of interest with Etruria. The Etruscans had established control in the region by the late 7th century BC, forming the aristocratic. According to legend, Rome was founded on April 21,753 BC by twin descendants of the Trojan prince Aeneas, Romulus and Remus. As the city was bereft of women, legend says that the Latins invited the Sabines to a festival and stole their unmarried maidens, leading to the integration of the Latins and the Sabines. Archaeological evidence indeed shows first traces of settlement at the Roman Forum in the mid-8th century BC, the seventh and final king of Rome was Tarquinius Superbus. As the son of Tarquinius Priscus and the son-in-law of Servius Tullius, Superbus was of Etruscan birth and it was during his reign that the Etruscans reached their apex of power. Superbus removed and destroyed all the Sabine shrines and altars from the Tarpeian Rock, the people came to object to his rule when he failed to recognize the rape of Lucretia, a patrician Roman, at the hands of his own son. Lucretias kinsman, Lucius Junius Brutus, summoned the Senate and had Superbus, after Superbus expulsion, the Senate voted to never again allow the rule of a king and reformed Rome into a republican government in 509 BC. In fact the Latin word Rex meaning King became a dirty and hated throughout the Republic. In 510, Spartan troops helped the Athenians overthrow the tyrant Hippias, cleomenes I, king of Sparta, put in place a pro-Spartan oligarchy conducted by Isagoras. Greece entered the 4th century under Spartan hegemony, but by 395 BC the Spartan rulers removed Lysander from office, and Sparta lost her naval supremacy. Athens, Argos, Thebes and Corinth, the two of which were formerly Spartan allies, challenged Spartan dominance in the Corinthian War, which ended inconclusively in 387 BC
7. Стаффаж – In painting, staffage, pronounced as in French, are the human and animal figures depicted in a scene, especially a landscape, that are not the primary subject matter of the work. Before the adoption of the word into the arts in the late eighteenth and early nineteenth centuries. During the Baroque, painters such as Nicolas Poussin and Claude Lorrain commonly used staffage, some landscape specialists had other painters who were more adept at painting the human form add staffage to their canvasses. Such works are given modern titles in the form Landscape with. Staffage should also be distinguished from the figures in paintings, who are also anonymous and typically from the common people. By the 19th centuries books with patterns for hundreds of different staffage figures were published for painters to cut and paste into their compositions. Earlier artists had often kept drawings of such figures, and the same figures often recur in several of the works of an artist
8. Ведута – A veduta is a highly detailed, usually large-scale painting or, more often print, of a cityscape or some other vista. The painters of vedute are referred to as vedutisti and this genre of landscape originated in Flanders, where artists such as Paul Bril painted vedute as early as the 16th century. In the 17th century Dutch painters made a specialty of detailed and accurate recognizable city, an archetypal example is Johannes Vermeers View of Delft. The Ghent architect, draughtsman and engraver Lieven Cruyl contributed to the development of the vedute during his residence in Rome in the late 17th century, cruyl’s drawings reproduce the topographical aspects of the urban landscape. By the mid-18th century, Venice became renowned as the centre of the vedutisti, the genres greatest practitioners belonged to the Canal and Guardi families of Venice. Some of them went to work as painters in major capitals of Europe, e. g. Canaletto in London and his nephew Bernardo Bellotto in Dresden, in other parts of 18th-century Italy, idiosyncratic varieties of the genre evolved. Giovanni Paolo Pannini was the first veduta artist to concentrate on painting ruins and his collaborators included Hendrik Frans van Lint, who would become one of the leading vedute painters in the first half of the 18th century. In later developments of the vedute, Panninis veduta morphed into the scenes partly or completely imaginary elements, known as capricci, giambattista Piranesi was the foremost master of vedute ideate etchings. His topographical series, Vedute di Roma, went through many printings, in the later 19th century, more personal impressions of cityscapes replaced the desire for topographical accuracy, which was satisfied instead by painted, and later photographed, panoramas. These artists responded to the international market for their city views of Venice and they made such big names for themselves through this genre that they painted nothing. Demand for Federico del Campos views, particularly from English tourists, was so strong, I pittori di vedute in Italia, 1580-1830. Canaletto, a full text exhibition catalog from The Metropolitan Museum of Art, which has material on Canalettos contributions to the genre
9. Риччи, Марко – Marco Ricci was an Italian painter of the Baroque period. He was born at Belluno and received his first instruction in art from his uncle, Sebastiano Ricci and he left for Venice with his uncle in 1696, but had to flee the city after killing a gondolier. He visited Rome, where he was for some time occupied in painting perspective views, in 1706–7, he worked with his uncle on the decoration of the Sala dErcole in the Palazzo Fenzi, located in Florence. In England, he collaborated with the artist Pellegrini in the staging of Italian works at the Queens Theatre in Haymarket. With Pellegrini, he executed six large canvases for Burlington House. Ricci returned to Venice in 1711, but came back to England with his uncle Sebastiano the following year, during his time in England, Marco Ricci also painted several landscapes, capriccios, and the wry painting Opera Rehearsal for Charles Howard, 3rd Earl of Carlisle. His production as a landscapist can be divided into four categories, alpine views or pastorals, violent country storms, ruins, while the medium of many of his works was oil on canvas, about half of his output, smaller in dimension, was tempera applied to goatskin. Marco Ricci returned to Venice in 1716, living with his uncle there until his death, riccis output in the 1720s was prodigious, and his production encompassed landscapes, capriccios, gouaches on vellum, drawings of stage designs and caricatures. He collaborated with Sebastiano on monumental figurative paintings, important patrons of Ricci in Venice were Consul Smith and Zanetti the Elder. Marco Ricci can be regarded as the initiator of a new Venetian landscape style and he died in Venice in 1730. Among his pupils were Domenico and Giuseppe Valeriani, in, The glory of Venice, Art in the Eighteenth Century. Martineau, Jane, and Andrew Robinson, eds, yale University Press, New Haven and London. A biographical and critical dictionary of painters and engravers, with a list of ciphers, monograms, in, The glory of Venice, Art in the Eighteenth Century. Martineau, Jane, and Andrew Robinson, eds, yale University Press, New Haven and London. An Introduction to 18th-Century Venetian Art, in, The glory of Venice, Art in the Eighteenth Century. Martineau, Jane, and Andrew Robinson, eds, yale University Press, New Haven and London. Visions of Venice, Paintings of the 18th Century, tauris Parke Books, London and New York. Art and Architecture in Italy, 1600–1750, The Late Baroque, a biographical and critical dictionary of painters and engravers, with a list of ciphers, monograms, and marks
10. Каналетто – Giovanni Antonio Canal, better known as Canaletto, was an Italian painter of city views or vedute, of Venice. He also painted views, although the demarcation in his works between the real and the imaginary is never quite clearcut. He was further an important printmaker using the etching technique, in the period from 1746 to 1756 he worked in England where he created many sights of London. He was highly successful in England, thanks to the British merchant and connoisseur Joseph Smith and he was born in Venice as the son of the painter Bernardo Canal, hence his mononym Canaletto, and Artemisia Barbieri. Canaletto served his apprenticeship with his father and his brother and he began in his fathers occupation, that of a theatrical scene painter. Canaletto was inspired by the Roman vedutista Giovanni Paolo Pannini, and started painting the life of the city. After returning from Rome in 1719, he began painting in his topographical style and his first known signed and dated work is Architectural Capriccio. Studying with the older Luca Carlevarijs, a painter of urban cityscapes. It is like Carlevaris, but you can see the sun shining in it, much of Canalettos early artwork was painted from nature, differing from the then customary practice of completing paintings in the studio. However, his paintings are notable for their accuracy, he recorded the seasonal submerging of Venice in water. Canalettos early works remain his most coveted and, according to many authorities, one of his early pieces is The Stonemasons Yard which depicts a humble working area of the city. It is regarded one of his finest works and was presented by Sir George Beaumont in 1823/8, later Canaletto painted grand scenes of the canals of Venice and the Doges Palace. His large-scale landscapes portrayed the citys pageantry and waning traditions, making use of atmospheric effects. For these qualities, his works may be said to have anticipated Impressionism and his graphic print S. A Giustina in Prà della Vale was found in the 2012 Nazi loot discovery. Many of his pictures were sold to Englishmen on their Grand Tour and it was Smith who acted as an agent for Canaletto, first in requesting paintings of Venice from the painter in the early 1720s and helping him to sell his paintings to other Englishmen. In the 1740s Canalettos market was disrupted when the War of the Austrian Succession led to a reduction in the number of British visitors to Venice and he remained in England until 1755, producing views of London and of his patrons castles and houses. His 1754 painting of Old Walton Bridge includes an image of Canaletto himself and he was often expected to paint England in the fashion with which he had painted his native city. Historian Michael Levey described his work from this period as inhibited, the artist was compelled to give public painting demonstrations in order to refute this claim, however, his reputation never fully recovered in his lifetime
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Каприччио (живопись)
Каприччио итал capriccio, буквально «каприз» — жанр пейзажной живописи, популярный в XVII—XVIII веках На картинах этого жанра изображались архитектурные фантазии, в основном руины вымышленных античных сооружений Для оживления пейзажа нередко использовался стаффаж Каприччио тесно связан с жанром ведуты На некоторых картинах элементы каприччио могут сочетаться с другими жанрамиЖанр достиг своего совершенства в полотнах Джованни Паоло Панини Мастерами каприччио также были Марко Риччи, Каналетто и Джованни Пиранези Среди более поздних картин можно отметить «Дань сэру Кристоферу Рену» и «Мечту профессора» Чарльза Кокерелла, а также работы Джозефа Гэндиen В наше время в этом жанре работает художник Карл Лоубин Carl Laubin1
В более широком смысле термин «каприччио» может обозначать фантастические картины вообще Примером может служить серия гравюр «Vari capricci» Разнообразные причуды Джованни Тьеполо опубликованная в 1743 году, где можно видеть развалины древних статуй и руин, но основное внимание привлекают бродящие поблизости люди в экзотических одеяниях — воины, философы, молодёжь Гравюры не подписаны, и догадываться об их смысле можно только по самим изображениям Впоследствии он написал похожую серию гравюр под названием «Scherzi di fantasia» Шутки фантазии Его сын Джованни Доменико также создавал подобные работы по примеру отца
Франсиско Гойя написал известную серию офортов «Капричос», а также использовал это слово в полном названии серии «Бедствия войны» Однако эти работы далеки от беззаботного духа тех картин, которые обычно называют термином «каприччио»: они изображают современную художнику жизнь Испании в мрачной гротескной манере
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- ↑ Carl Laubin Paintings
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WikiZero - Каприччио (живопись)
Wikipedia Open wikipedia design. Каприччио с видами Рима. Панини, 1758 У этого термина существуют и другие значения, см. Каприччо. Каприччио (итал. capriccio, буквально «каприз») — жанр пейзажной живописи, популярный в XVII—XVIII веках. На картинах этого жанра изображались архитектурные фантазии, в основном руины вымышленных античных сооружений. Для оживления пейзажа нередко использовался стаффаж. Каприччио тесно связан с жанром ведуты. На некоторых картинах элементы каприччио могут сочетаться с другими жанрами.
Жанр достиг своего совершенства в полотнах Джованни Паоло Панини. Мастерами каприччио также были Марко Риччи, Каналетто и Джованни Пиранези. Среди более поздних картин можно отметить «Дань сэру Кристоферу Рену» и «Мечту профессора» Чарльза Кокерелла, а также работы Джозефа Гэнди[en]. В наше время в этом жанре работает художник Карл Лоубин (Carl Laubin)[1].
В более широком смысле термин «каприччио» может обозначать фантастические картины вообще. Примером может служить серия гравюр «Vari capricci» (Разнообразные причуды) Джованни Тьеполо (опубликованная в 1743 году), где можно видеть развалины древних статуй и руин, но основное внимание привлекают бродящие поблизости люди в экзотических одеяниях — воины, философы, молодёжь. Гравюры не подписаны, и догадываться об их смысле можно только по самим изображениям. Впоследствии он написал похожую серию гравюр под названием «Scherzi di fantasia» (Шутки фантазии). Его сын Джованни Доменико также создавал подобные работы по примеру отца.
Франсиско Гойя написал известную серию офортов «Капричос», а также использовал это слово в полном названии серии «Бедствия войны». Однако эти работы далеки от беззаботного духа тех картин, которые обычно называют термином «каприччио»: они изображают современную художнику жизнь Испании в мрачной гротескной манере.
This page is based on a Wikipedia article written by contributors (read/edit).Text is available under the CC BY-SA 4.0 license; additional terms may apply.Images, videos and audio are available under their respective licenses.
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Каприччио (живопись) — узбекистан вики
Каприччио с видами Рима. Панини, 1758 У этого термина существуют и другие значения, см. Каприччо. Каприччио (итал. capriccio, буквально «каприз») — жанр пейзажной живописи, популярный в XVII—XVIII веках. На картинах этого жанра изображались архитектурные фантазии, в основном руины вымышленных античных сооружений. Для оживления пейзажа нередко использовался стаффаж. Каприччио тесно связан с жанром ведуты. На некоторых картинах элементы каприччио могут сочетаться с другими жанрами.
Жанр достиг своего совершенства в полотнах Джованни Паоло Панини. Мастерами каприччио также были Марко Риччи, Каналетто и Джованни Пиранези. Среди более поздних картин можно отметить «Дань сэру Кристоферу Рену» и «Мечту профессора» Чарльза Кокерелла, а также работы Джозефа Гэнди[en]. В наше время в этом жанре работает художник Карл Лоубин (Carl Laubin)[1].
В более широком смысле термин «каприччио» может обозначать фантастические картины вообще. Примером может служить серия гравюр «Vari capricci» (Разнообразные причуды) Джованни Тьеполо (опубликованная в 1743 году), где можно видеть развалины древних статуй и руин, но основное внимание привлекают бродящие поблизости люди в экзотических одеяниях — воины, философы, молодёжь. Гравюры не подписаны, и догадываться об их смысле можно только по самим изображениям. Впоследствии он написал похожую серию гравюр под названием «Scherzi di fantasia» (Шутки фантазии). Его сын Джованни Доменико также создавал подобные работы по примеру отца.
Франсиско Гойя написал известную серию офортов «Капричос», а также использовал это слово в полном названии серии «Бедствия войны». Однако эти работы далеки от беззаботного духа тех картин, которые обычно называют термином «каприччио»: они изображают современную художнику жизнь Испании в мрачной гротескной манере.
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