Музей ЧерномырдинаСобака (картина Гойи). Собака картина гойи
Собака (картина Гойи) Википедия
«Собака» (исп. El perro) — одна из «Мрачных картин» Франсиско Гойи, написанная в 1819—1823 гг. Авторское название картины неизвестно. Это произведение также известно под называниями «Тонущая собака» (исп. Perro semihundido) и «Голова собаки».
На фотографии Ж. Лорана, сделанной ок. 1874 года, до переноса картины из «Дома Глухого», можно увидеть предположительно очертания скалы и птиц, на которых смотрит собака[1].Это произведение, скорее всего, незавершённое, является частью группы работ с верхнего этажа «Дома Глухого», где Гойя жил с 1819 года. Неизвестно изначальное намерение художника. Голова собаки то ли появляется из-за склона, то ли выныривает из мутной воды. Собака смотрит вверх пронзительным, почти человеческим взглядом, вызывая глубокое беспокойство, обостряемое огромным пустым пространством сверху. Картина производит неизгладимое впечатление на зрителя[2].
Композиция «Собаки» перекликается с «Монахом у моря» Каспара Давида Фридриха, написанным примерно на десять лет раньше. Однако, если Фридрих оставляет пейзаж узнаваемым[3], то Гойя идёт ещё дальше в разрыве с традиционной композицией. Он доводит до абсолюта упрощение среды и практически полное отсутствие формальной организации. «Тонущая собака» стала источником вдохновения для многих художников. Так, влияние Гойи заметно в картинах Пьера Боннара «Красная клетчатая скатерть» (1910)[4] и Антонио Саура «Воображаемый портрет Гойи» (1966)[5].
Примечания
Литература
- Hughes, Robert. The unflinching eye (October 4, 2003). Проверено 26 июня 2009.
- Hughes, Robert. Goya. — New York: Alfred A. Knopf, 2004. — ISBN 0-3945-8028-1.
- Lubbock, Tom. Goya, Francisco de: The Dog (c1820) (July 11, 2008). Проверено 26 июня 2009.
- Solemne acto de apertura del curso 1997-98 y de investidura como doctor "Honoris Causa" del Excmo. Sr. D. Antonio Saura. — Universidad de Castilla-La Mancha, 1997. — P. 81.
- Benito Oterino, Agustín, La luz en la quinta del sordo: estudio de las formas y cotidianidad, Madrid, Universidad Complutense, 2002. Edición digital ISBN 84-669-1890-6
- Bozal, Valeriano, Francisco Goya, vida y obra, (2 vols.) Madrid, Tf. Editores, 2005. ISBN 84-96209-39-3.
- D’Ors Führer, Carlos, y MORALES MARÍN, Carlos, Los genios de la pintura: Francisco de Goya, Madrid, Sarpe, 1990. Sección «Estudio de la obra seleccionada», por Carlos D’Orf Führer, págs. 83-93. ISBN 84-7700-100-2
- Glendinning, Nigel, Francisco de Goya, Madrid, Cuadernos de Historia 16 (col. «El arte y sus creadores», nº 30), 1993.
- Torrecillas Fernández, María Carmen, «Las pinturas de la Quinta del Sordo fotografiadas por J. Laurent», Boletín del Museo del Prado, tomo XIII, número 31, 1992, págs. 57-69.
Ссылки
wikiredia.ru
Собака (картина Гойи) - это... Что такое Собака (картина Гойи)?
«Собака» (исп. El perro) — одна из «Мрачных картин» Франциско Гойи, написанная в 1819—23 гг. Авторское название картины неизвестно. Это произведение также известно как «Тонущая собака» (исп. Perro semihundido) или «Голова собаки».
На фотографии Ж. Лорана, сделанной ок. 1874 года, до переноса картины из «Дома Глухого», можно увидеть предположительно очертания скалы и птиц, на которых смотрит собака[1].Композиция «Собаки» перекликается с «Монахом у моря» Каспара Давида Фридриха, написанным примерно на десять лет раньше. Однако, если Фридрих оставляет пейзаж узнаваемым[3], то Гойя идёт ещё дальше в разрыве с традиционной композицией. Он доводит до абсолюта упрощение среды и практически полное отсутствие формальной организации. «Тонущая собака» стала источником вдохновения для многих художников. Так влияние Гойи заметно в картинах Пьера Боннара «Красная клетчатая скатерть» (1910)[4] и Антонио Саура «Воображаемый портрет Гойи» (1966)[5].
Примечания
Литература
- Hughes, Robert. The unflinching eye (October 4, 2003). Проверено 26 июня 2009.
- Hughes, Robert Goya. — New York: Alfred A. Knopf, 2004. — ISBN 0-3945-8028-1
- Lubbock, Tom. Goya, Francisco de: The Dog (c1820) (July 11, 2008). Проверено 26 июня 2009.
- Solemne acto de apertura del curso 1997-98 y de investidura como doctor "Honoris Causa" del Excmo. Sr. D. Antonio Saura. — Universidad de Castilla-La Mancha, 1997. — P. 81.
- Benito Oterino, Agustín, La luz en la quinta del sordo: estudio de las formas y cotidianidad, Madrid, Universidad Complutense, 2002. Edición digital ISBN 84-669-1890-6
- Bozal, Valeriano, Francisco Goya, vida y obra, (2 vols.) Madrid, Tf. Editores, 2005. ISBN 84-96209-39-3.
- D’Ors Führer, Carlos, y MORALES MARÍN, Carlos, Los genios de la pintura: Francisco de Goya, Madrid, Sarpe, 1990. Sección «Estudio de la obra seleccionada», por Carlos D’Orf Führer, págs. 83-93. ISBN 84-7700-100-2
- Glendinning, Nigel, Francisco de Goya, Madrid, Cuadernos de Historia 16 (col. «El arte y sus creadores», nº 30), 1993.
- Torrecillas Fernández, María Carmen, «Las pinturas de la Quinta del Sordo fotografiadas por J. Laurent», Boletín del Museo del Prado, tomo XIII, número 31, 1992, págs. 57-69.
Ссылки
dic.academic.ru
Собака (картина Гойи) Википедия
«Собака» (исп. El perro) — одна из «Мрачных картин» Франсиско Гойи, написанная в 1819—1823 гг. Авторское название картины неизвестно. Это произведение также известно под называниями «Тонущая собака» (исп. Perro semihundido) и «Голова собаки».
На фотографии Ж. Лорана, сделанной ок. 1874 года, до переноса картины из «Дома Глухого», можно увидеть предположительно очертания скалы и птиц, на которых смотрит собака[1].Это произведение, скорее всего, незавершённое, является частью группы работ с верхнего этажа «Дома Глухого», где Гойя жил с 1819 года. Неизвестно изначальное намерение художника. Голова собаки то ли появляется из-за склона, то ли выныривает из мутной воды. Собака смотрит вверх пронзительным, почти человеческим взглядом, вызывая глубокое беспокойство, обостряемое огромным пустым пространством сверху. Картина производит неизгладимое впечатление на зрителя[2].
Композиция «Собаки» перекликается с «Монахом у моря» Каспара Давида Фридриха, написанным примерно на десять лет раньше. Однако, если Фридрих оставляет пейзаж узнаваемым[3], то Гойя идёт ещё дальше в разрыве с традиционной композицией. Он доводит до абсолюта упрощение среды и практически полное отсутствие формальной организации. «Тонущая собака» стала источником вдохновения для многих художников. Так, влияние Гойи заметно в картинах Пьера Боннара «Красная клетчатая скатерть» (1910)[4] и Антонио Саура «Воображаемый портрет Гойи» (1966)[5].
Примечания[ | код]
Литература[ | код]
- Hughes, Robert. The unflinching eye (October 4, 2003). Проверено 26 июня 2009.
- Hughes, Robert. Goya. — New York: Alfred A. Knopf, 2004. — ISBN 0-3945-8028-1.
- Lubbock, Tom. Goya, Francisco de: The Dog (c1820) (July 11, 2008). Проверено 26 июня 2009.
- Solemne acto de apertura del curso 1997-98 y de investidura como doctor "Honoris Causa" del Excmo. Sr. D. Antonio Saura. — Universidad de Castilla-La Mancha, 1997. — P. 81.
- Benito Oterino, Agustín, La luz en la quinta del sordo: estudio de las formas y cotidianidad, Madrid, Universidad Complutense, 2002. Edición digital ISBN 84-669-1890-6
- Bozal, Valeriano, Francisco Goya, vida y obra, (2 vols.) Madrid, Tf. Editores, 2005. ISBN 84-96209-39-3.
- D’Ors Führer, Carlos, y MORALES MARÍN, Carlos, Los genios de la pintura: Francisco de Goya, Madrid, Sarpe, 1990. Sección «Estudio de la obra seleccionada», por Carlos D’Orf Führer, págs. 83-93. ISBN 84-7700-100-2
- Glendinning, Nigel, Francisco de Goya, Madrid, Cuadernos de Historia 16 (col. «El arte y sus creadores», nº 30), 1993.
- Torrecillas Fernández, María Carmen, «Las pinturas de la Quinta del Sordo fotografiadas por J. Laurent», Boletín del Museo del Prado, tomo XIII, número 31, 1992, págs. 57-69.
Ссылки[ | код]
ru-wiki.ru
Сочинение на картину художника Франсиско Гойя «Тонущая собака»
Когда останавливается взгляд на творчестве всемирно известного испанского художника Ф.Гойя, то у зрителя невольно возникает ощущение, что картины выполнены в несколько мрачном стиле, видимо из-за огромного наличия страха у людей, и их пороков, безысходности но, тем не менее, каждое из творений содержит в себе глубокий смысл. В картинах гениального художника прослеживается направление «романтизм», суть которого состоит в борьбе между высокими и идеалами и низменной действительностью.
Также «романтизм» определяется отрицанием нормативности в создании произведения. Картины авторов романтического направления подчас наполнены двойственными чувствами: душевный подъем чередуется с разочарованием, а отчаяние граничит с воодушевлением. Эти душевные треволнения отражали вечную загадку мира и признания невозможности духовного постижения. Следует сказать, что у Гойи все замечательные по концепции произведения. Он, вероятно, единственный из художников, кто буквально проживает, проникать внутрь картины. Здесь он не просто воссоздает образы, видения из подсознания, выполненные на холсте, но пытается материализовать не материальное, чтобы созданные персонажи обрели форму.
Франсиско Гойя «Тонущая собака»
В 17 веке романтическим называлось все феерическое, странное, фантастическое, которое запечатлели авторы в своих книгах, и которого в реальной жизни не существовало.
Произведение «Собака» считается одной из уникальных и загадочных и может смело претендовать на статус «мрачной картины», которая была написана автором прямо на стенах своего дома в Испании («Дом Глухого»), где он уже полностью потерял слух. Она входит в десятку самых страшных шедевров изобразительного искусства. По всей вероятности его можно отнести к незавершенным работам. Намерение художника остается непонятным. Собака на картине изображена на склоне, как бы вне времени , в кажущей бездне и ее голова то появляется со склона, то, как бы выныривает из воды, делая ее образ особенно жутким, когда осознается вся немощь этого существа. Собачий взгляд потрясает своей пронзительностью, можно сказать, что смотрит человек, вызывая глубочайшее волнение, сострадание, обостряемое огромным пространством сверху. Если другие писатели стараются на своих полотнах оставить завершенный логический сюжет, то Ф.Гойя идет вопреки традиционной композиции. Версий о содержании данной картины множество, может быть тонущая собака – это отражение одиночества, заброшенности…
Вероятно, «мрачные картины» выдающегося художника своего рода акт творческой смелости, который совершил этот великий, но в конце своей жизни бесконечно одинокий и больной человек.
Автор сочинения: Наталья Наталина
Франсиско Гойя «Тонущая собака»
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Собака (картина Гойи) - WikiVisually
1. Мадрид – Madrid is the capital city of the Kingdom of Spain and the largest municipality in both the Community of Madrid and Spain as a whole. The city has a population of almost 3.2 million with an area population of approximately 6.5 million. It is the third-largest city in the European Union after London and Berlin, the municipality itself covers an area of 604.3 km2. Madrid lies on the River Manzanares in the centre of both the country and the Community of Madrid, this community is bordered by the communities of Castile and León. As the capital city of Spain, seat of government, and residence of the Spanish monarch, Madrid is also the political, economic, the current mayor is Manuela Carmena from Ahora Madrid. Madrid is home to two football clubs, Real Madrid and Atlético de Madrid. Madrid is the 17th most liveable city in the according to Monocle magazine. Madrid organises fairs such as FITUR, ARCO, SIMO TCI, while Madrid possesses modern infrastructure, it has preserved the look and feel of many of its historic neighbourhoods and streets. Cibeles Palace and Fountain have become one of the monument symbols of the city, the first documented reference of the city originates in Andalusan times as the Arabic مجريط Majrīṭ, which was retained in Medieval Spanish as Magerit. A wider number of theories have been formulated on possible earlier origins, according to legend, Madrid was founded by Ocno Bianor and was named Metragirta or Mantua Carpetana. The most ancient recorded name of the city Magerit comes from the name of a built on the Manzanares River in the 9th century AD. Nevertheless, it is speculated that the origin of the current name of the city comes from the 2nd century BC. The Roman Empire established a settlement on the banks of the Manzanares river, the name of this first village was Matrice. In the 8th century, the Islamic conquest of the Iberian Peninsula saw the changed to Mayrit, from the Arabic term ميرا Mayra. The modern Madrid evolved from the Mozarabic Matrit, which is still in the Madrilenian gentilic, after the disintegration of the Caliphate of Córdoba, Madrid was integrated in the Taifa of Toledo. With the surrender of Toledo to Alfonso VI of León and Castile, the city was conquered by Christians in 1085, Christians replaced Muslims in the occupation of the centre of the city, while Muslims and Jews settled in the suburbs. The city was thriving and was given the title of Villa, since 1188, Madrid won the right to be a city with representation in the courts of Castile. In 1202, King Alfonso VIII of Castile gave Madrid its first charter to regulate the municipal council, which was expanded in 1222 by Ferdinand III of Castile
2. Мрачные картины – The Black Paintings is the name given to a group of fourteen paintings by Francisco Goya from the later years of his life, likely between 1819 and 1823. They portray intense, haunting themes, reflective of both his fear of insanity and his outlook on humanity. In 1819, at the age of 72, Goya moved into a house outside Madrid that was called Quinta del Sordo. Although the house had been named after the owner, who was deaf. The paintings originally were painted as murals on the walls of the house, later being hacked off the walls, currently they are held in the Museo del Prado in Madrid. After the Napoleonic Wars and the turmoil of the changing Spanish government. He had a first-hand and acute awareness of panic, terror, fear and he had survived two near-fatal illnesses, and grew increasingly anxious and impatient in fear of relapse. The combination of factors is thought to have led to his production of the fourteen works known collectively as the Black Paintings. Using oil paints and working directly on the walls of his dining and sitting rooms, Goya created works with dark, the paintings were not commissioned and were not meant to leave his home. Goya did not give titles to the paintings, or if he did, most names used for them are designations employed by art historians. Initially, they were catalogued in 1828 by Goya’s friend, Antonio Brugada, the paintings were little known for half a century. Only certain art critics, such as Charles Yriarte, wrote about them, the slow process of transferring the murals onto canvas began in 1874. However, in 1881 the baron donated the paintings to the Spanish state, Goya acquired the villa on the banks of the River Manzanares, near the Segovia bridge and with views over the plains of San Isidro, in February 1819. It has been suggested that he bought the house to public attention, he lived there with Leocadia Weiss. It is thought that Goya had a relationship with her and possibly a daughter and it is not known exactly when Goya began painting the Black Paintings. It is possible that he started work on the murals between February and November 1819 when he fell ill as testified by the disturbing Self-portrait with Dr Arrieta. What is known is that the murals were painted over rural scenes containing small figures as Goya made use of the landscapes in some of his murals such as Fight with Cudgels. If the light-toned bucolic paintings are also the works of Goya, it may be that his illness, Bozal has suggested that those paintings also were painted by Goya as this is the only way to understand why he reused them
3. Гойя, Франсиско – Francisco José de Goya y Lucientes was a Spanish romantic painter and printmaker. He is considered the most important Spanish artist of late 18th and early 19th centuries and throughout his career was a commentator. Immensely successful in his lifetime, Goya is often referred to as both the last of the Old Masters and the first of the moderns and he was also one of the great portraitists of modern times. He was born to a modest family in 1746 in the village of Fuendetodos in Aragon and he studied painting from age 14 under José Luzán y Martinez and moved to Madrid to study with Anton Raphael Mengs. He married Josefa Bayeu in 1773, the couples life together was characterised by an almost constant series of pregnancies and miscarriages, Goya was a guarded man and although letters and writings survive, little is known about his thoughts. He suffered a severe and undiagnosed illness in 1793 which left him completely deaf, after 1793 his work became progressively darker and more pessimistic. His later easel and mural paintings, prints and drawings appear to reflect a bleak outlook on personal, social and political levels and he was appointed Director of the Royal Academy in 1795, the year Manuel Godoy made an unfavorable treaty with France. In 1799 Goya became Primer Pintor de Cámara, the then-highest rank for a Spanish court painter, in the late 1790s, commissioned by Godoy, he completed his La maja desnuda, a remarkably daring nude for the time and clearly indebted to Diego Velázquez. In 1801 he painted Charles IV of Spain and His Family, in 1807 Napoleon led the French army into Spain. Goya remained in Madrid during the Peninsular War, which seems to have affected him deeply. Although he did not vocalise his thoughts in public, they can be inferred from his Disasters of War series of prints and his 1814 paintings The Second of May 1808 and The Third of May 1808. Goya eventually abandoned Spain in 1824 to retire to the French city of Bordeaux, accompanied by his much younger maid and companion, Leocadia Weiss, there he completed his La Tauromaquia series and a number of other, major, canvases. Following a stroke left him paralyzed on his right side. His body was later re-interred in Spain, Francisco Goya was born in Fuendetodos, Aragón, Spain, on 30 March 1746 to José Benito de Goya y Franque and Gracia de Lucientes y Salvador. The family had moved that year from the city of Zaragoza, José was the son of a notary and of Basque origin, his ancestors being from Zerain, earning his living as a gilder, specialising in religious and decorative craftwork. He oversaw the gilding and most of the ornamentation during the rebuilding of the Basilica of Our Lady of the Pillar, Francisco was their fourth child, following his sister Rita, brother Tomás and second sister Jacinta. There were two sons, Mariano and Camilo. His mothers family had pretensions of nobility and the house, a modest brick cottage, was owned by her family and, perhaps fancifully, about 1749 José and Gracia bought a home in Zaragoza and were able to return to live in the city
4. Монах у моря – The Monk by the Sea is an oil painting by the German Romantic artist Caspar David Friedrich. It was painted between 1808 and 1810 in Dresden and was first shown together with the painting The Abbey in the Oakwood in the Berlin Academy exhibition of 1810, on Friedrichs request The Monk by the Sea was hung above The Abbey in the Oakwood. After the exhibition both pictures were bought by king Frederick Wilhelm III for his collection, today the paintings hang side by side in the Alte Nationalgalerie, Berlin. For its lack of concern with creating the illusion of depth—which had been an aspect of landscape painting—The Monk by the Sea was Friedrichs most radical composition. The broad expanses of sea and sky emphasize the meager figure of the monk, standing before the vastness of nature, a single figure, dressed in a long garment and with his chin on one hand, stands on a low dune sprinkled with grass. The figure, usually identified as a monk, has turned almost completely away from the viewer and surveys a rough sea and it is unclear whether he is standing on a high rock or only on a gentle slope to the sea. The dune forms a triangle in the composition, at the farthest point of which is the figure. Contrasting with the ocean there are several whitecaps of waves sometimes mistaken for seagulls. The composition of The Monk by the Sea shows evidence of this reductive process, recent scientific investigations have revealed that he had initially painted two small sailing ships on the horizon, which he later removed. Friedrich continued to modify the details of the right up to its exhibition—to the skys grey was added blue, with stars. The Monk by the Sea furthered his success and drew much attention, Friedrich probably began the painting in Dresden,1808. In a letter of February 1809, he described the image for the first time, the stages in its conception were also documented by guests to his studio. The painting was exhibited in its current form at the Berlin Academy in October 1810, to much controversy, the composition notably lacks a repoussoir—a framing device that leads the viewers gaze into the image. Rather, the emptiness of the foreground is overwhelming and it is commonly argued that a viewer of this painting has difficulty relating himself to the pictures space. One cannot mentally penetrate the image, Friedrich has created a gap between the monk and the viewer. Friedrich has compressed space in a manner anticipating abstract art, The Monk by the Sea has been described as perhaps the first abstract painting in a modern sense. Kleist wrote, for example, How wonderful it is to sit completely alone by the sea under an overcast sky and it is essential that one has come there just for this reason, and that one has to return. No situation in the world could be more sad and eerie than this—as the only spark of life in the realm of death
5. Фридрих, Каспар Давид – Caspar David Friedrich was a 19th-century German Romantic landscape painter, generally considered the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic or megalithic ruins. His primary interest as an artist was the contemplation of nature, Friedrich was born in the Pomeranian town of Greifswald at the Baltic Sea, where he began his studies in art as a young man. He studied in Copenhagen until 1798, before settling in Dresden and he came of age during a period when, across Europe, a growing disillusionment with materialistic society was giving rise to a new appreciation of spirituality. Friedrichs work brought him early in his career, and contemporaries such as the French sculptor David dAngers spoke of him as a man who had discovered the tragedy of landscape. Nevertheless, his work fell from favour during his years, and he died in obscurity. The early 20th century brought a renewed appreciation of his work, beginning in 1906 with an exhibition of thirty-two of his paintings and sculptures in Berlin. By the 1920s his paintings had been discovered by the Expressionists and it was not until the late 1970s that Friedrich regained his reputation as an icon of the German Romantic movement and a painter of international importance. Caspar David Friedrich was born on 5 September 1774, in Greifswald, Swedish Pomerania, the sixth of ten children, he was brought up in the strict Lutheran creed of his father Adolf Gottlieb Friedrich, a candle-maker and soap boiler. Records of the financial circumstances are contradictory, while some sources indicate the children were privately tutored. Caspar David was familiar with death from an early age and his mother, Sophie Dorothea Bechly, died in 1781 when he was just seven. A year later, his sister Elisabeth died, while a sister, Maria. Some accounts suggest that Johann Christoffer perished while trying to rescue Caspar David, Quistorp took his students on outdoor drawing excursions, as a result, Friedrich was encouraged to sketch from life at an early age. Through Quistorp, Friedrich met and was influenced by the theologian Ludwig Gotthard Kosegarten. Quistorp introduced Friedrich to the work of the German 17th-century artist Adam Elsheimer, whose works often included religious subjects dominated by landscape, during this period he also studied literature and aesthetics with Swedish professor Thomas Thorild. Four years later Friedrich entered the prestigious Academy of Copenhagen, where he began his education by making copies of casts from antique sculptures before proceeding to drawing from life, living in Copenhagen afforded the young painter access to the Royal Picture Gallerys collection of 17th-century Dutch landscape painting. At the Academy he studied under such as Christian August Lorentzen. Mood was paramount, and influence was drawn from sources as the Icelandic legend of Edda
6. Боннар, Пьер – Pierre Bonnard was a French painter and printmaker, as well as a founding member of the Post-Impressionist group of avant-garde painters Les Nabis. Bonnard preferred to work from memory, using drawings as a reference, the intimate domestic scenes, for which he is perhaps best known, often include his wife Marthe de Meligny. Identified as a practitioner of Impressionism in the early 20th century, Bonnard has since been recognized for his unique use of color. Bonnard was born in Fontenay-aux-Roses, Hauts-de-Seine on 3 October 1867 and he led a happy and carefree youth as the son of a prominent official of the French Ministry of War. He studied classics during his baccalaureate, at the insistence of his father, Bonnard studied law, graduating and briefly practicing as a barrister in 1888. However, he had attended art classes at Ecole des Beaux-Arts and Académie Julian. His earlier work such as Woman in Checkered Dress shows the influence of Japanese prints, in 1891, he met Toulouse-Lautrec and began showing his work at the annual exhibition of the Société des Artistes Indépendants. In the same year Bonnard also began an association with La Revue Blanche, for which he, Bonnards talent was appreciated early in his career, Claude Roger-Marx remarked in 1893 that he catches fleeting poses, steals unconscious gestures, crystallises the most transient expressions. His first show was at the Galerie Durand-Ruel in 1896, in his twenties Bonnard was a part of Les Nabis, a group of young artists committed to creating work of symbolic and spiritual nature. Other Nabis include Vuillard and Maurice Denis, in addition to his paintings, he also became known for his posters and book illustrations, as well as for his prints and theater set designs. He left Paris in 1910 for the south of France, Bonnard was described, by his own friend and historians, as a man of quiet temperament and one who was unobtrusively independent. His life was free from the tensions and reversals of untoward circumstance. It has been suggested that, Like Daumier, whose life knew little serenity, Bonnard is known for his intense use of color, especially via areas built with small brush marks and close values. His often complex compositions—typically of sunlit interiors and gardens populated with friends, Bonnards fondness for depicting intimate scenes of everyday life, has led to him being called an Intimist, his wife Marthe was an ever-present subject over the course of several decades. She is seen seated at the table, with the remnants of a meal, or nude. He also painted several self-portraits, landscapes, street scenes, and many still lifes, Bonnard did not paint from life but rather drew his subject—sometimes photographing it as well—and made notes on the colors. He then painted the canvas in his studio from his notes, I have all my subjects to hand, he said, I go back and look at them. And before I start painting I reflect, I dream and he worked on numerous canvases simultaneously, which he tacked onto the walls of his small studio
7. Галерея Тейт – Tate is an institution that houses the United Kingdoms national collection of British art, and international modern and contemporary art. It is a network of four art museums, Tate Britain, London, Tate Liverpool, Tate St Ives, Cornwall and Tate Modern, London, Tate is not a government institution, but its main sponsor is the UK Department for Culture, Media and Sport. The name Tate is used also as the name for the corporate body. The gallery was founded in 1897, as the National Gallery of British Art, the Tate Gallery was housed in the current building occupied by Tate Britain, which is situated in Millbank, London. Tate Liverpool has the purpose as Tate Modern but on a smaller scale. All four museums share the Tate Collection, one of the Tates most publicised art events is the awarding of the annual Turner Prize, which takes place at Tate Britain. The original Tate was called the National Gallery of British Art, situated on Millbank, Pimlico, the idea of a National Gallery of British Art was first proposed in the 1820s by Sir John Leicester, Baron de Tabley. It took a step nearer when Robert Vernon gave his collection to the National Gallery in 1847, a decade later John Sheepshanks gave his collection to the South Kensington Museum, known for years as the National Gallery of Art. Henry Tate also donated his own collection to the gallery and it was initially a collection solely of modern British art, concentrating on the works of modern—that is Victorian era—painters. It was controlled by the National Gallery until 1954, in 1926 and 1937, the art dealer and patron Joseph Duveen paid for two major expansions of the gallery building. His father had paid for an extension to house the major part of the Turner Bequest. Henry Courtauld also endowed Tate with a purchase fund, by the mid 20th century, it was fulfilling a dual function of showing the history of British art as well as international modern art. In 1954, the Tate Gallery was finally separated from the National Gallery, later, the Tate began organising its own temporary exhibition programme. In 1979 with funding from a Japanese bank a large extension was opened that would also house larger income generating exhibitions. In 1987, the Clore Wing opened to house the major part of the Turner bequest, in 1988, an outpost in north west England opened as Tate Liverpool. This shows various works of art from the Tate collection as well as mounting its own temporary exhibitions. In 2007, Tate Liverpool hosted the Turner Prize, the first time this has been held outside London and this was an overture to Liverpools being the European Capital of Culture 2008. In 1993, another offshoot opened, Tate St Ives and it exhibits work by modern British artists, particularly those of the St Ives School
8. Викисклад – Wikimedia Commons is an online repository of free-use images, sound, and other media files. It is a project of the Wikimedia Foundation, the repository contains over 38 million media files. In July 2013, the number of edits on Commons reached 100,000,000, the project was proposed by Erik Möller in March 2004 and launched on September 7,2004. The expression educational is to be according to its broad meaning of providing knowledge. Wikimedia Commons itself does not allow fair use or uploads under non-free licenses, for this reason, Wikimedia Commons always hosts freely licensed media and deletes copyright violations. The default language for Commons is English, but registered users can customize their interface to use any other user interface translations. Many content pages, in particular policy pages and portals, have also translated into various languages. Files on Wikimedia Commons are categorized using MediaWikis category system, in addition, they are often collected on individual topical gallery pages. While the project was proposed to also contain free text files. In 2012, BuzzFeed described Wikimedia Commons as littered with dicks, in 2010, Wikipedia co-founder Larry Sanger reported Wikimedia Commons to the FBI for hosting sexualized images of children known as lolicon. Wales responded to the backlash from the Commons community by voluntarily relinquishing some site privileges, over time, additional functionality has been developed to interface Wikimedia Commons with the other Wikimedia projects. Specialized uploading tools and scripts such as Commonist have been created to simplify the process of uploading large numbers of files. In order to free content photos uploaded to Flickr, users can participate in a defunct collaborative external review process. The site has three mechanisms for recognizing quality works, one is known as Featured pictures, where works are nominated and other community members vote to accept or reject the nomination. This process began in November 2004, another process known as Quality images began in June 2006, and has a simpler nomination process comparable to Featured pictures. Quality images only accepts works created by Wikimedia users, whereas Featured pictures additionally accepts nominations of works by third parties such as NASA, the three mentioned processes select a slight part from the total number of files. However, Commons collects files of all quality levels, from the most professional level across simple documental, files with specific defects can be tagged for improvement and warning or even proposed for deletion but there exists no process of systematic rating of all files. The site held its inaugural Picture of the Year competition, for 2006, all images that were made a Featured picture during 2006 were eligible, and voted on by eligible Wikimedia users during two rounds of voting
9. Маха обнажённая – The Nude Maja is a name given to a c. 1797-1800 oil on canvas painting by the Spanish artist Francisco Goya and it portrays a nude woman reclining on a bed of pillows, and was probably commissioned by Manuel de Godoy, to hang in his private collection in a separate cabinet reserved for nude paintings. Goya created a pendant of the same woman identically posed, but clothed, known today as La maja vestida, also in the Prado, the subject is identified as a maja based on her costume in La maja vestida. The painting is renowned for the straightforward and unashamed gaze of the model towards the viewer and it has also been cited as among the earliest Western artwork to depict a nude womans pubic hair without obvious negative connotations. With this work Goya not only upset the authorities, but also titillated the public. It has been in the Museo del Prado in Madrid since 1901, the painting carries many of the traditions of depictions of the nude in Spanish art, but marks a clear break in significant ways, especially in her bold gaze. More obviously, while Velázquez painted his Venus revealing only her back, Goyas figuration is short and angular, while Velázquezs is elongated and curved, and his figure placed on richly coloured satin, which starkly contrasts to the bare white cloths Goyas maja rests on. The identity of the model and why the paintings were created are unknown, Godoy retained the picture for six years before it was discovered by investigators for the Spanish Inquisition in 1808, along with his other questionable pictures. The controversy was populist and driven by a motive, following a mob gathering demanding Godoys removal as Prime Minister. In the fallout, Goya was named and summonsed on a charge of moral depravity, as Godoy had only been found in possession of the painting, Goya was asked to identify why he did them, and also at whose request, and what attention guided him. Goya escaped prosecution when the tribunal accepted that he was following in a tradition, ironically, the earlier picture of Venus had been similarly kept out of view by that art-loving king in a private room, the room where His Majesty retires after eating. La maja desnuda has always hung alongside, above, or before its companion and they were twice in the collection of the Royal Academy of Fine Arts of San Fernando, also in Madrid, being sequestered by the Inquisition between 1814 and 1836 before being returned. They have been in the Prado since 1901 and it is not known if the two works were intended to be hung together. One early account gives the Clothed Maja placed in front of the current work, today they are hung side by side, although others have suggested that they were intended to be spaced apart, and seen in succession. It has been conjectured that the woman depicted was Godoys young mistress Pepita Tudó, however, many scholars have rejected this possibility, including Australian art critic Robert Hughes in his 2003 biography Goya. Many agree that Pepita Tudó is a likely candidate. Others believe that the woman is a composite of different models. The work has inspired other artists, jeffrey Meyers, in his book Impressionist Quartet, The Intimate Genius of Manet and Morisot, Degas and Cassatt, opines that Manets Olympia boldly alluded to another masterpiece, Goyas Naked Maja
10. Портрет семьи Карла IV – Charles IV of Spain and His Family is an oil on canvas painting by the Spanish artist Francisco Goya who began work on this painting in 1800 and completed it in the summer of 1801. It features life sized depictions of Charles IV of Spain and his family, ostentatiously dressed in fine costume, the painting was modeled after Velázquezs Las Meninas when setting the royal subjects in a naturalistic and plausible setting. The royal family is apparently paying a visit to the artists studio, the barely visible man in the background shadows at the left is Goya himself. 69–73 Davies, Denny, Hofrichter, Jacobs, Roberts, Simon
wikivisually.com
Собака (картина Гойи) - Википедия
Материал из Википедии — свободной энциклопедии
«Собака» (исп. El perro) — одна из «Мрачных картин» Франсиско Гойи, написанная в 1819—1823 гг. Авторское название картины неизвестно. Это произведение также известно под называниями «Тонущая собака» (исп. Perro semihundido) и «Голова собаки».
На фотографии Ж. Лорана, сделанной ок. 1874 года, до переноса картины из «Дома Глухого», можно увидеть предположительно очертания скалы и птиц, на которых смотрит собака[1].Это произведение, скорее всего, незавершённое, является частью группы работ с верхнего этажа «Дома Глухого», где Гойя жил с 1819 года. Неизвестно изначальное намерение художника. Голова собаки то ли появляется из-за склона, то ли выныривает из мутной воды. Собака смотрит вверх пронзительным, почти человеческим взглядом, вызывая глубокое беспокойство, обостряемое огромным пустым пространством сверху. Картина производит неизгладимое впечатление на зрителя[2].
Композиция «Собаки» перекликается с «Монахом у моря» Каспара Давида Фридриха, написанным примерно на десять лет раньше. Однако, если Фридрих оставляет пейзаж узнаваемым[3], то Гойя идёт ещё дальше в разрыве с традиционной композицией. Он доводит до абсолюта упрощение среды и практически полное отсутствие формальной организации. «Тонущая собака» стала источником вдохновения для многих художников. Так, влияние Гойи заметно в картинах Пьера Боннара «Красная клетчатая скатерть» (1910)[4] и Антонио Саура «Воображаемый портрет Гойи» (1966)[5].
Примечания[ | ]
Литература[ | ]
- Hughes, Robert. The unflinching eye (October 4, 2003). Проверено 26 июня 2009.
- Hughes, Robert. Goya. — New York: Alfred A. Knopf, 2004. — ISBN 0-3945-8028-1.
- Lubbock, Tom. Goya, Francisco de: The Dog (c1820) (July 11, 2008). Проверено 26 июня 2009.
- Solemne acto de apertura del curso 1997-98 y de investidura como doctor "Honoris Causa" del Excmo. Sr. D. Antonio Saura. — Universidad de Castilla-La Mancha, 1997. — P. 81.
- Benito Oterino, Agustín, La luz en la quinta del sordo: estudio de las formas y cotidianidad, Madrid, Universidad Complutense, 2002. Edición digital ISBN 84-669-1890-6
- Bozal, Valeriano, Francisco Goya, vida y obra, (2 vols.) Madrid, Tf. Editores, 2005. ISBN 84-96209-39-3.
- D’Ors Führer, Carlos, y MORALES MARÍN, Carlos, Los genios de la pintura: Francisco de Goya, Madrid, Sarpe, 1990. Sección «Estudio de la obra seleccionada», por Carlos D’Orf Führer, págs. 83-93. ISBN 84-7700-100-2
- Glendinning, Nigel, Francisco de Goya, Madrid, Cuadernos de Historia 16 (col. «El arte y sus creadores», nº 30), 1993.
- Torrecillas Fernández, María Carmen, «Las pinturas de la Quinta del Sordo fotografiadas por J. Laurent», Boletín del Museo del Prado, tomo XIII, número 31, 1992, págs. 57-69.
Ссылки[ | ]
encyclopaedia.bid
Собака (картина Гойи) — Википедия
Материал из Википедии — свободной энциклопедии
«Собака» (исп. El perro) — одна из «Мрачных картин» Франсиско Гойи, написанная в 1819—1823 гг. Авторское название картины неизвестно. Это произведение также известно под называниями «Тонущая собака» (исп. Perro semihundido) и «Голова собаки».
На фотографии Ж. Лорана, сделанной ок. 1874 года, до переноса картины из «Дома Глухого», можно увидеть предположительно очертания скалы и птиц, на которых смотрит собака[1].Это произведение, скорее всего, незавершённое, является частью группы работ с верхнего этажа «Дома Глухого», где Гойя жил с 1819 года. Неизвестно изначальное намерение художника. Голова собаки то ли появляется из-за склона, то ли выныривает из мутной воды. Собака смотрит вверх пронзительным, почти человеческим взглядом, вызывая глубокое беспокойство, обостряемое огромным пустым пространством сверху. Картина производит неизгладимое впечатление на зрителя[2].
Композиция «Собаки» перекликается с «Монахом у моря» Каспара Давида Фридриха, написанным примерно на десять лет раньше. Однако, если Фридрих оставляет пейзаж узнаваемым[3], то Гойя идёт ещё дальше в разрыве с традиционной композицией. Он доводит до абсолюта упрощение среды и практически полное отсутствие формальной организации. «Тонущая собака» стала источником вдохновения для многих художников. Так, влияние Гойи заметно в картинах Пьера Боннара «Красная клетчатая скатерть» (1910)[4] и Антонио Саура «Воображаемый портрет Гойи» (1966)[5].
- Hughes, Robert. The unflinching eye (October 4, 2003). Проверено 26 июня 2009.
- Hughes, Robert. Goya. — New York: Alfred A. Knopf, 2004. — ISBN 0-3945-8028-1.
- Lubbock, Tom. Goya, Francisco de: The Dog (c1820) (July 11, 2008). Проверено 26 июня 2009.
- Solemne acto de apertura del curso 1997-98 y de investidura como doctor "Honoris Causa" del Excmo. Sr. D. Antonio Saura. — Universidad de Castilla-La Mancha, 1997. — P. 81.
- Benito Oterino, Agustín, La luz en la quinta del sordo: estudio de las formas y cotidianidad, Madrid, Universidad Complutense, 2002. Edición digital ISBN 84-669-1890-6
- Bozal, Valeriano, Francisco Goya, vida y obra, (2 vols.) Madrid, Tf. Editores, 2005. ISBN 84-96209-39-3.
- D’Ors Führer, Carlos, y MORALES MARÍN, Carlos, Los genios de la pintura: Francisco de Goya, Madrid, Sarpe, 1990. Sección «Estudio de la obra seleccionada», por Carlos D’Orf Führer, págs. 83-93. ISBN 84-7700-100-2
- Glendinning, Nigel, Francisco de Goya, Madrid, Cuadernos de Historia 16 (col. «El arte y sus creadores», nº 30), 1993.
- Torrecillas Fernández, María Carmen, «Las pinturas de la Quinta del Sordo fotografiadas por J. Laurent», Boletín del Museo del Prado, tomo XIII, número 31, 1992, págs. 57-69.
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