The Exaltation of Beauty
European art and culture.
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Канал түзүлгөн датаВер 28, 2021
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Вер 11, 2024"The Exaltation of Beauty" тобундагы акыркы жазуулар
Кайра бөлүшүлгөн:
The Exaltation of Beauty
25.04.202510:33
Scholar in his study, 1876, by Friedrich von Amerling
Кайра бөлүшүлгөн:The Exaltation of Beauty
23.04.202516:59
The plan of the large "historia", conceived as an ordered representation on a wide stage closed on three sides by large architectural walls, was clearly Gentile's. The style of the architecture, suggested to the painter during his journey in the East (where he had been sent by the Republic in 1479 in the retinue of a diplomatic mission) is reminiscent of Mameluke prototypes, which led to the speculation that Gentile may have proceeded from Constantinople to Jerusalem on a pilgrimage, and from there have recorded new architectural ideas that were different from Ottoman styles, the. latter being more familiar to Venetians.
The official narrative, however, hinges on the crowd gathered around the preaching saint in the square, where, according to Venetian canons of public portraiture, the characters appear as a socially and hierarchically defined group.
The official narrative, however, hinges on the crowd gathered around the preaching saint in the square, where, according to Venetian canons of public portraiture, the characters appear as a socially and hierarchically defined group.
Кайра бөлүшүлгөн:The Exaltation of Beauty
23.04.202516:59
These must have been familiar to the artist, who had been sent to work for Mehmed II at Constantinople in 1497. Giovanni, on the other hand, was probably responsible for the intense portraits of the members of the confraternity in the group on the left.
The large-scale oil painting depicts a massive stage in the center of the main city and the pavement appears to be created of large square red brick stones. Behind the stage are three tall blue domed temples along with minaret-like towers and big square light colored houses, along the side as well. The side buildings are decorated with light colored red facade and rooftop porches on top. In front of the stage, there are about a hundred contrastingly dressed individuals who have assembled on this square. The men are shown wearing caftans, frocks, cloaks, turbans, and immense hats, while the women are dressed in white from head to ankle-length veils.
The large-scale oil painting depicts a massive stage in the center of the main city and the pavement appears to be created of large square red brick stones. Behind the stage are three tall blue domed temples along with minaret-like towers and big square light colored houses, along the side as well. The side buildings are decorated with light colored red facade and rooftop porches on top. In front of the stage, there are about a hundred contrastingly dressed individuals who have assembled on this square. The men are shown wearing caftans, frocks, cloaks, turbans, and immense hats, while the women are dressed in white from head to ankle-length veils.
Кайра бөлүшүлгөн:The Exaltation of Beauty
23.04.202516:59
St. Mark Preaching in Alexandria, 1504 - 7, by Gentile Bellini and Giovanni Bellini, 347 cm × 770 cm, Pinacoteca Brera
The huge canvas adorned the reception room of the Scuola Grande di San Marco in Venice, one of the city’s most prestigious and powerful confraternities. It was commissioned from Gentile Bellini in 1504 but was left incomplete on the death of the artist in 1507. We do not know what stage the picture had reached, but it was finished by his brother Giovanni, who was requested to do so in Gentile’s will. The attribution of the various parts of the work to each artist is still a matter of debate among scholars; however, the most widely held view assigns to Gentile the definition of the main lines of the scene, in which elements of Venetian architecture are superimposed on structures of clearly Mediterranean and Oriental derivation (for example the obelisks and the minarets of a mosque).
The huge canvas adorned the reception room of the Scuola Grande di San Marco in Venice, one of the city’s most prestigious and powerful confraternities. It was commissioned from Gentile Bellini in 1504 but was left incomplete on the death of the artist in 1507. We do not know what stage the picture had reached, but it was finished by his brother Giovanni, who was requested to do so in Gentile’s will. The attribution of the various parts of the work to each artist is still a matter of debate among scholars; however, the most widely held view assigns to Gentile the definition of the main lines of the scene, in which elements of Venetian architecture are superimposed on structures of clearly Mediterranean and Oriental derivation (for example the obelisks and the minarets of a mosque).
21.04.202517:07
Christ resurrected, 1530, by Master of the Prodigal Son
20.04.202519:23
The Three Women on the Tomb of Christ, 1843, by Irma Martin
Кайра бөлүшүлгөн:The Exaltation of Beauty
20.04.202515:06
Alonso López de Herrera, The Resurrection of Christ, 1625
Кайра бөлүшүлгөн:The Exaltation of Beauty
20.04.202515:05
Initial R: The Resurrection, late 15th or early 16th century, by Antonio da Monza (active about 1480 - 1505), Getty Museum
Grand initial R ornaments the most elaborate page in the gradual and marks the introit for Easter, the chant sung by the choir as the priest enters the church. Within the letter, Jesus stands atop his sarcophagus, giving the priestly sign of blessing while holding a cross staff with a banner, a traditional sign of his Resurrection. Below him, several Roman guards awaken from sleep. A long vista extends into the distance to include a monastery.
In the border, decorative and figural motifs derived from classical antiquity and known as grotesques delight the eye. Winged putti scamper across the backs of tritons, and Roman monumental lettering mingles with military trophies and carved cameos.
Grand initial R ornaments the most elaborate page in the gradual and marks the introit for Easter, the chant sung by the choir as the priest enters the church. Within the letter, Jesus stands atop his sarcophagus, giving the priestly sign of blessing while holding a cross staff with a banner, a traditional sign of his Resurrection. Below him, several Roman guards awaken from sleep. A long vista extends into the distance to include a monastery.
In the border, decorative and figural motifs derived from classical antiquity and known as grotesques delight the eye. Winged putti scamper across the backs of tritons, and Roman monumental lettering mingles with military trophies and carved cameos.
18.04.202517:37
Labore et constantia (1640), by Erasmus Quellinus the younger
18.04.202517:33
Lovers’ Song (1876), by Federico Andreotti
Кайра бөлүшүлгөн:The Exaltation of Beauty
18.04.202509:39
Canova had a number of highly skilled studio assistants who produced reductions of his sculptures both during his lifetime and after his death. Hugh Honour has noted that Adamo Tadolini, one of Canova's most important assistants, produced versions of the Venus Italica. Given that the present marble is of particularly high quality and follows the original model closely, it is likely that it was produced shortly after Canova's death and probably by one of the artist's assistants. Rome in the first three decades of the 19th century was filled with marble carvers of the first rate, many of whom worked under Canova and particularly Bertel Thorvaldsen, whose marbles after circa 1815 were carved by assistants almost without exception. The present marble has a particularly beautifully polished original surface. Note the finely delineated fingers and the perfection of the facial features.
Кайра бөлүшүлгөн:The Exaltation of Beauty
18.04.202509:39
Venus Italica, after Antonio Canova, c.1820-1830, Italian, Rome, 125cm
When the Medici Venus was forcibly removed from the Tribuna of the Uffizi by Napoleon's forces, King Louis I of Etruria commissioned Antonio Canova to replace the figure. True to nature, Canova submitted a wholly original figure to rival the antiquity, despite originally being asked to sculpt a copy. Canova's Venus references the Medici Venus in the turn of the neck, but leans slightly forward, adding greater finesse to the proportioning of the figure. The Neoclassical composition also incorporates drapery which is used by Venus to conceal her nudity. This is a distinctly modern gesture, which imbues the figure with a sensuality also seen in seminal contemporary paintings such as Ingres' Valpinçon Bather and Hayez' Venus. The Venus Italica became an instant success when it was unveiled in the Palazzo Pitti in 1812.
When the Medici Venus was forcibly removed from the Tribuna of the Uffizi by Napoleon's forces, King Louis I of Etruria commissioned Antonio Canova to replace the figure. True to nature, Canova submitted a wholly original figure to rival the antiquity, despite originally being asked to sculpt a copy. Canova's Venus references the Medici Venus in the turn of the neck, but leans slightly forward, adding greater finesse to the proportioning of the figure. The Neoclassical composition also incorporates drapery which is used by Venus to conceal her nudity. This is a distinctly modern gesture, which imbues the figure with a sensuality also seen in seminal contemporary paintings such as Ingres' Valpinçon Bather and Hayez' Venus. The Venus Italica became an instant success when it was unveiled in the Palazzo Pitti in 1812.
Кайра бөлүшүлгөн:The Exaltation of Beauty
15.04.202513:33
The Plague of Thebes by Charles François Jalabert (1819-1901) alludes to the Athenian Tragedy Oedipus Rex by Sophocles. Plague strikes Thebes due to corruption caused by the murder of Laius, the former king of the city. Oedipus, the current ruler, vows to put an end to this only to find out that he is the cause of the plague. Banished when the prophecy of patricide and incest was proven true, Oedipus left Thebes a blind and broken man.
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Кайра бөлүшүлгөн:The Exaltation of Beauty
05.04.202521:40
The Archangel Saint Michael in Triumph, c. 1780, by Giuseppe Sanmartino, silver, gilt bronze, 85.09 × 35.24 × 33.81 cm, Minneapolis Institute of Art
Кайра бөлүшүлгөн:The Exaltation of Beauty
08.04.202519:47
Ernst Ferdinand Oehme, Cathedral in Winter, 1821, Gemäldegalerie Dresden
At the Academy Exhibition in 1821, Oehme presented his large painting "Cathedral in Winter", which clearly showed the connection to Friedrich. The sensational early work, today one of Oehme's masterpieces in the Dresden gallery, attracted the interest of the Saxon Crown Prince Friedrich August II, to whom the young artist gave it as a gift. In the form of a soaring and completely intact Gothic cathedral architecture, the medieval church is raised here - and in contrast to Friedrich's metaphors of transience - to a newly hoped-for ideal image. The Christian Church is the life-giving center of that yearningly imagined world. Through the snow of the cold winter, the monks walk towards the candle-lit high altar inside the sacred building, the erected cross becomes the center of a light phenomenon that is able to illuminate the dark room full of promise and shines with its warmth against the cold.
At the Academy Exhibition in 1821, Oehme presented his large painting "Cathedral in Winter", which clearly showed the connection to Friedrich. The sensational early work, today one of Oehme's masterpieces in the Dresden gallery, attracted the interest of the Saxon Crown Prince Friedrich August II, to whom the young artist gave it as a gift. In the form of a soaring and completely intact Gothic cathedral architecture, the medieval church is raised here - and in contrast to Friedrich's metaphors of transience - to a newly hoped-for ideal image. The Christian Church is the life-giving center of that yearningly imagined world. Through the snow of the cold winter, the monks walk towards the candle-lit high altar inside the sacred building, the erected cross becomes the center of a light phenomenon that is able to illuminate the dark room full of promise and shines with its warmth against the cold.
28.03.202518:37
Nikiforovich Dmitry Martynov, The Shade of Samuel Invoked by Saul, 1857
20.04.202519:23
The Three Women on the Tomb of Christ, 1843, by Irma Martin
Кайра бөлүшүлгөн:The Exaltation of Beauty
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:The Exaltation of Beauty
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.
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.
Кайра бөлүшүлгөн:The Exaltation of Beauty
23.04.202516:59
St. Mark Preaching in Alexandria, 1504 - 7, by Gentile Bellini and Giovanni Bellini, 347 cm × 770 cm, Pinacoteca Brera
The huge canvas adorned the reception room of the Scuola Grande di San Marco in Venice, one of the city’s most prestigious and powerful confraternities. It was commissioned from Gentile Bellini in 1504 but was left incomplete on the death of the artist in 1507. We do not know what stage the picture had reached, but it was finished by his brother Giovanni, who was requested to do so in Gentile’s will. The attribution of the various parts of the work to each artist is still a matter of debate among scholars; however, the most widely held view assigns to Gentile the definition of the main lines of the scene, in which elements of Venetian architecture are superimposed on structures of clearly Mediterranean and Oriental derivation (for example the obelisks and the minarets of a mosque).
The huge canvas adorned the reception room of the Scuola Grande di San Marco in Venice, one of the city’s most prestigious and powerful confraternities. It was commissioned from Gentile Bellini in 1504 but was left incomplete on the death of the artist in 1507. We do not know what stage the picture had reached, but it was finished by his brother Giovanni, who was requested to do so in Gentile’s will. The attribution of the various parts of the work to each artist is still a matter of debate among scholars; however, the most widely held view assigns to Gentile the definition of the main lines of the scene, in which elements of Venetian architecture are superimposed on structures of clearly Mediterranean and Oriental derivation (for example the obelisks and the minarets of a mosque).
Кайра бөлүшүлгөн:The Exaltation of Beauty
06.04.202514:53
Revelation Of Angels To Shepherds (1899), by Albert Edelfelt
06.04.202514:39
"Gate in Volterra, Etruria" or "Returning With Captives" by Aleksandr Svedomskiy, 1884
29.03.202515:59
Black Knight, by Alfred De Dreux
Кайра бөлүшүлгөн:The Exaltation of Beauty
11.04.202516:44
Saint George and the Dragon
by Jacopo Tintoretto, c.1555
158.3 × 100.5 cm, National
Gallery of London
by Jacopo Tintoretto, c.1555
158.3 × 100.5 cm, National
Gallery of London
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