The Exaltation of Beauty

Николаевский Ванёк

Мир сегодня с "Юрий Подоляка"

Труха⚡️Україна

Николаевский Ванёк

The Exaltation of Beauty

European art and culture.

@Revolt888
@WrathOfGnon77
@OrthodoxSpirituality555

TGlist рейтинг

ТипАчык

Текшерүү

Текшерилбеген

Ишенимдүүлүк

Ишенимсиз

Орду

ТилиБашка

Канал түзүлгөн датаFeb 10, 2025

TGlistке кошулган дата

Sep 11, 2024

Мен каналдын ээсимин

Өзгөрүүлөр тарыхы

Telegram каналы The Exaltation of Beauty статистикасы

Катталгандар

6 227

24 саат

10%Жума

10%Ай

12-0.2%

Цитация индекси

0

Эскерүүлөр0Каналдарда бөлүштү0Каналдарда эскерүүлөр0

1 посттун орточо көрүүлөрү

271

12 саат2600%24 саат2710%48 саат2710%

Катышуу (ER)

2.95%

Кайра посттошту8Комментарийлер0Реакциялар0

Көрүүлөр боюнча катышуу (ERR)

0%

24 саат0%Жума

0.47%Ай

1.82%

1 жарнама посттун орточо көрүүлөрү

0

1 саат00%1 – 4 саат00%4 - 24 саат00%

Биздин ботту каналыңызга кошуп, анын аудиториясынын жынысын билүү.

Акыркы 24 саатта бардык посттор

23

Динамика

"The Exaltation of Beauty" тобундагы акыркы жазуулар

Бардык посттор

Кайра бөлүшүлгөн:

13.04.202516:46

Emil Rau was a German painter best known for his paintings of everyday life in rural Germany. His subjects are often depicted in a romanticized manner, rife with traditional garb and rosy-cheeked. Born in 1858 in Dresden, Germany, Rau studied at the Academy in Dresden in his young adulthood, working under Ferdinand Wilhelm Pauwels, before moving to Munich in 1879. While studying at the Munich Academy, he met fellow painter Wilhelm von Lindenschmit the Younger, whose progressive outlook Rau rejected. He instead continued to focus heavily on capturing the pastoral Germany of lore.

AgAD8Q0AAqTLwFA

2 MB

Кайра бөлүшүлгөн:

13.04.202516:46

Emil Rau - A Summer’s Day in Tyrol

Кайра бөлүшүлгөн:

13.04.202516:46

Emil Rau (1858–1937), Mittag auf der Alp, 1899

Кайра бөлүшүлгөн:

13.04.202516:46

Besuch auf der Alm (1880), by Emil Rau

Кайра бөлүшүлгөн:

13.04.202516:46

Emil Rau - A Good Tale

Кайра бөлүшүлгөн:

13.04.202516:46

Emil Rau - A Serenade

Кайра бөлүшүлгөн:

13.04.202516:46

A conversation, by Emil Rau

Кайра бөлүшүлгөн:

13.04.202516:46

Emil Rau - Lesendes Mädchen

Кайра бөлүшүлгөн:

13.04.202516:46

Die Verehrer, by Emil Rau, 100x133cm

Кайра бөлүшүлгөн:

12.04.202518:06

The iconography of the work, probably intended for the artist’s private devotion, refers to the compositional scheme of the Lamentation over the Dead Christ, in which mourners are gathered around the body prepared for burial, laid out on the stone of unction and already anointed with perfumes.

The composition produces a great emotional impact, accentuated by the extreme foreshortening: Christ’s body is very close to the viewpoint of the observer who is drawn into the center of the drama; moreover, every detail is enhanced by the incisiveness of the lines, which compels the gaze to linger over the most terrible details, over the members stiffened in rigor mortis as well as the wounds, ostentatiously presented in the foreground as called for by the tradition of this type of image.
It is an absolute peak in Mantegna’s production, a work whose expressive force, severe composure and masterly handling of the illusion of perspective have made it one of the best-known symbols of the Italian Renaissance.

AgADIA0AArg0yFA

863 kB

Кайра бөлүшүлгөн:

12.04.202518:06

Lamentation over the Dead Christ, c.1483, by Andrea Mantegna, tempera on canvas, 68 cm × 81 cm, Pinacoteca Brera

Кайра бөлүшүлгөн:

11.04.202516:44

The painting has always been recognised as a work by Tintoretto. It has the intense colour of his early works of the late 1540s, such as the Last Supper of 1547 and the Miracle of Saint Mark of 1548, but space is created with more assurance and dramatic effect, suggesting it is likely to date from the 1550s.

Although the canvas is rectangular, the painting is arched in shape and must originally have been displayed in a frame with spandrels, as it is now. The painting’s shape suggests that it was probably intended as an altarpiece. Most of the earlier representations of the subject had a horizontal format – it must have been the need to compress the narrative into a vertical composition suitable for an altarpiece that gave Tintoretto the novel idea of placing the princess in the foreground and the figures above one another. Even more unusual than this is his decision to place the saint in the middle distance and to make the princess the largest and most prominent figure in the painting.

AgADEQ0AArg0yFA

5.12 MB

Кайра бөлүшүлгөн:

11.04.202516:44

Saint George plunges his lance into the jaws of the dragon which, according to legend, inhabited the lake outside the city of Lydda in the Holy Land. The dead body of one of the dragon’s earlier victims lies on the ground. God the Father appears in the heavens in answer to George’s prayers and intervenes to help him defeat the dragon.

Tintoretto devised a daring, dramatically heaving composition, with the horizon set two thirds up the picture and the figures positioned above one another receding obliquely into the distance. He foreshortened the princess’s hand so that it appears to project into our space as she rises from her knees and rushes out of the picture towards us. Her red mantle, floating behind her, emphasises her speed. The painting is alive with energy and action: the headlong movement of the princess and Saint George is continued in the swirling draperies, rushing waters and thunderous clouds pierced by blinding beams of light in the heavens.

Кайра бөлүшүлгөн:

11.04.202516:44

Saint George and the Dragon
by Jacopo Tintoretto, c.1555
158.3 × 100.5 cm, National
Gallery of London

Кайра бөлүшүлгөн:

10.04.202514:29

The battle scene at the center is thought to depict the victory of Hannibal and the Carthaginians over the Romans in Cannae in 216 B.C., which here could be interpreted as an allusion to the struggle of France against the Holy Roman Empire during the sixteenth century. In the strapwork borders are the intertwined letters: H for Henry II (reigned 1547–59); C for Catherine de Médicis, his queen; and possibly also D for Diane de Poitiers, his mistress. Interspersed with the initials are crescents, the king's personal badge and a reference to the moon goddess Diana and her namesake Diane de Poitiers.

The design is very similar to a series of drawings for the decoration of armor attributed to Etienne Delaune, Jean Cousin the Elder, and Baptiste Pellerin, all artists active in Paris.

Бардык посттор

Эч нерсе табылган жок 😢

Рекорддор

15.02.202523:59

6.3KКатталгандар

13.06.202423:59

0Цитация индекси

24.01.202523:59

1.2K1 посттун көрүүлөрү

22.04.202502:40

01 жарнама посттун көрүүлөрү

23.01.202520:10

4.27%ER

24.01.202523:59

19.06%ERR

Өнүгүү

Катталуучулар

Citation индекси

Бир посттун көрүүсү

Жарнамалык посттун көрүүсү

ERR

The Exaltation of Beauty популярдуу жазуулары

Бардык посттор

27.03.202517:45

Ludwig Brüls - Farewell of the Knight

Кайра бөлүшүлгөн:

10.04.202514:29

Shield of Henry II of France (reigned 1547–59), ca. 1555, French, steel, gold, silver, 63.5 cm tall, The Met

Кайра бөлүшүлгөн:

24.03.202513:22

Dennis Miller Bunker - Chrysanthemums (1888)

27.03.202517:45

Ludwig Brüls - Return of the Knight

Кайра бөлүшүлгөн:

06.04.202514:53

Revelation Of Angels To Shepherds (1899), by Albert Edelfelt

Кайра бөлүшүлгөн: