Личная библиотека и записная книжка

Экспертиза: пароли и явки

Posted in Об искусстве by benescript on 26.10.2017

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Это не просто афера, это убийство имен

Posted in Об искусстве by benescript on 26.10.2017

Эксперт Владимир Петров о фальшивом русском искусстве

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СЛОВАРЬ-УКАЗАТЕЛЬ ИМЕН И ПОНЯТИЙ ПО ДРЕВНЕРУССКОМУ ИСКУССТВУ

Posted in Об искусстве by benescript on 25.02.2015

Сост. Е. В. Гладышева, Л. В. Нерсесян
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журнал «КиноПарк», рубрика «Выставки», декабрь 2012

Posted in Об искусстве by benescript on 08.02.2013

The Lady with the Ermine (Cecilia Gallerani)

Posted in Об искусстве, библиотека by benescript on 12.07.2012
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Pisanello: Young Lady of the Este Family

Posted in Об искусстве, библиотека by benescript on 06.06.2012
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Piero della Francesca: Federigo da Montefeltro and his Wife Battista Sforza

Posted in Об искусстве, библиотека by benescript on 19.05.2012
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Antonello da Messina: Portrait of a Man, known as «II Condottiere»

Posted in Об искусстве, библиотека by benescript on 11.05.2012
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Hans Memling: Man with a Roman Coin (Giovanni de Candida?)

Posted in Об искусстве, библиотека by benescript on 11.05.2012

Hans Memling
Portrait of a Man with a Roman Coin
1480
Koninklijk Museum voor Schone Kunsten, Antwerp

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Jean Fouquet. Etienne Chevalier Presented by St. Stephen. c. 1450. Staatliche Museen, Berlin

Posted in Об искусстве, библиотека by benescript on 07.05.2012

Van Eyck’s realism soon enjoyed international renown. In Italy, Bartolomco Fazio extolled the Flemish artist in 1455/56 as the «prince of our century’s painters». In France, too, where Burgundian art was already well known, the new style quickly won favour, becoming known as «la nou-velle pratique». Traces of its influence can be felt in the work of Enguerrand Charonton, and in the celebrated Pieta of Villeneuve-les-Avignon, painted c. 1470 by an anonymous master of southern France. The donor, whose face is realistically represented, is shown kneeling in an attitude of prayer at the bottom left of the Pieta. His white robe, as well as the attribute of oriental architecture (the Church of the Holy Sepulchre in Jerusalem) against a gold background, suggest he has travelled as a pilgrim to Jerusalem. The artist has given powerful dramatic expression to the grief of the mourners, and the intention to introduce the donor into their company seems obvious enough. Nevertheless, the gaze and gestures of the donor have not (yet) made any impression on the holy figures themselves, so that he remains outside their gestural narrative. Although part of the painting, the donor thus seems somewhat isolated within it. His gaze is intended to be directed towards the events taking place, but in order meet his patron’s demands, the artist has painted him looking less into the centre of the painting than diagonally out of it.

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