Ханс фон Аахен (Немецкий, 1552-1615) |
Ханс фон Аахен (Немецкий, 1552-1615)
Ханс фон Аахен
Эрцгерцогиня Анна, дочь эрцгерцога Фердинанда II, принца Тирольского, жена императора Матиаса
Hans von Aachen - 1604
Обожание волхвов
Приписывается Хансу фон Ахену - 1600
Поклонение Пастухов
Последователь Hans von Aachen - около 1590
Аллегория мира, искусства и изобилия
Hans von Aachen - 1602Эта аллегория является характерным примером творчества Ганса фон Аахена, типичного представителя необычной, очень космополитичной школы живописи, которая сложилась в Праге на рубеже 16-го и 17-го веков при дворе императора Рудольфа II. Женщина со своей оливковой ветвью и брошенным оружием символизирует мир, а фигура на заднем плане со сферой и палитрой в руках представляет свободное искусство. Символизм был призван прославить мирную политику императора, которая привела к процветанию и процветанию искусств и наук. Аллегорическое содержание, неустойчивая композиция, в которой движение направлено по диагоналям, аристократические вытянутые пропорции и тревожное освещение-все это элементы этой школы, в которой содержалась эклектичная смесь достижений итальянского маньеризма и нидерландских влияний. Тусклая окраска разбита вспышками ярко-красного цвета. Мы обретаем ощущение таинственности и чего-то невысказанного, характерного для эмоционального тона Маньеристского искусства.
Аллегория господства-возвращение золотого века под Сатурн
Hans von Aachen - около 1598
Аллегория битвы при Брашове
Hans von Aachen - около 1603-1604
Аллегория битвы при Гороссло
Hans von Aachen - около 1603-1604
Аллегория битвы при Сисеке
Hans von Aachen - около 1603-1604
Аллегория ~ Триумф истины под защитными крыльями правосудия
Hans von Aachen - 1598
Изумление богов
Hans von Aachen - около 1590-1599
Бахус, Серес и Амор
Hans von Aachen - около 1600
Мальчик с виноградом
Hans von Aachen - около 1600-1605Немецкий художник-маньерист и рисовальщик (Кельн, 1552-Прага, 4 марта 1615). Учился у Георга Джеррига.
Немецкий художник, родившийся в Кельне (несмотря на свое имя, которое происходит от места рождения его отца) и активный в Нидерландах, Италии (1574-87), и в первую очередь в Праге, где он поселился в 1596 году как придворный художник к императору Рудольфу II. По смерти Рудольфа (1612) он работал на императора Матиаса.
Его картины, изображающие изящные, вытянутые фигуры, - как и его коллега Бартоломей Спрангер-ведущие примеры утонченного искусства маньеристов, тогда в моде у дворов Северной Европы, и он был особенно хорош с игриво эротическими ню ("Триумф истины", Алте Пинакотек, Мюнхен, 1598). Гравюры после его работы оказали его стилю большое влияние и он занимает одно из самых важных немецких художников своего времени.
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Australian Knitting - February 2019. |
Australian Knitting - February 2019.
Издательство: Woodlands PPLЯзык: английскийЖурнал по вязанию, в котором представлена великолепная коллекция женских моделей одежды иаксессуаров, выполненных на спицах или крючком. Кроме этого в каждом выпуске журнала предложенынесколько моделей детской одежды и уютные мелочи для дома.
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Художник Pol Ledent,1952 г. |
Художник Pol Ledent
Пол Легент родился в 1952 году в Бельгии. Но к живописи пришел не сразу, только в 1989 году. Начал с акварели, но быстро понял, что это не то, что ему необходимо, масляная живопись будет больше соответствовать его образу мысли.
Главная тема картин этого художника - живая природа, пейзажи и времена года, но немало работ Пол посвятил силе, энергии и красоте человеческого тела.
Он художник-самоучка. Тем не менее посещал курсы рисования в бельгийской академии. После участия в многочисленных групповых выставках и пришедшего вслед за этим успеха, некоторые галереи в Бельгии предложили ему выставлять свои работы. В настоящее время живет и работает в городе Houyet, Провинция Намюр, Бельгия.
http://www.crown6.org/publ/3-1-0-6298
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Frederic Edwin Church (May 4, 1826 – April 7, 1900) |
Frederic Edwin Church (May 4, 1826 – April 7, 1900)
Frederic Edwin Church
Aurora Borealis
Frederic Edwin Church
Autumn in North America
Frederic Edwin Church
Natural Bridge, Virginia
Frederic Edwin Church
Niagara Falls
Frederic Edwin Church
Niagara Falls by Moonlight
Frederic Edwin Church
Niagara Falls, from the American Side
Frederic Edwin Church
The Monastery of San Pedro (Our Lady of the Snows)
Frederic Edwin Church
Twilight: Mount Desert Island, Maine
Frederic Edwin Church
West Rock, New Haven (East Rock, near Whitneyville)
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Verena. Спецвыпуск №1/2019. |
Verena. Спецвыпуск №1/2019.
Издательство: ИД Бурда"Verena. Модное вязание" - журнал по вязанию спицами и крючком. В новом выпуске 52 модели женскойодежды, связанных спицами. Тема номера: "В ожидании весны". К каждой модели имеются подробныеописания, инструкции и схемы. Советы профессионалов вязания помогут вам создать потрясающий,уникальный наряд, в котором вы будете прекрасно выглядеть в любой ситуации.
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Вязание - ваше хобби. Каталог №3 2018. |
Вязание - ваше хобби. Каталог №3 2018.
Вязание - ваше хобби. Каталог №3/2018. Модное вязание.Издательство: КонлигаКаталог популярного журнала по вязанию "Вязание ваше хобби", который многие годы остаетсялюбимым у рукодельниц. Это книга-журнал , где собраны самые популярные материалы по вязанию ирукоделию от французских, испанских и других европейских дизайнеров трикотажа. Качественнаяполиграфия, эксклюзивные материалы, отобранные авторами, заинтересуют, как профессионалов вобласти вязания и рукоделия, так и многочисленных поклонников этого популярного хобби.
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Crochet Now №38 2019 |
Crochet Now №38 2019.
Издательство: Inspire Imagine CreateЯзык: английскийЖурнал по вязанию крючком оригинальных и ярких моделей. Журнал для тех, кто хочетвыглядеть стильно и оригинально и сделать уютнее свой дом. В номере модели одежды иаксессуаров для детей и взрослых, забавные игрушки, подушка, уютные пледы.
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ХУДОЖНИК МОРИС ДЕНИ (1870–1943) (ФРАНЦИЯ) |
МОРИС ДЕНИ
(1870–1943)
BACCHUS AND ARIADNE (1907)
BATHSHEEBA, BLUE BACKGROUND (1899)
BEAUTY IN THE AUTUMN WOOD (1892)
BRETONS (C.1890)
CHILD IN AN APRON OR LITTLE GIRL IN A RED DRESS (C.1889)
CUPID IN FLIGHT IS STRUCK BY THE BEAUTY OF PSYCHE (1908)
DENIS MARTHA AND MARY, 1896, EREMITAGET
DENIS MAURICE CUPID CARRIES PSYCHE TO THE HEAVENS
DENIS MAURICE FIGURES IN A SPRING LANDSCAPE
DENIS MAURICE MOTHER AND CHILD
DENIS MAURICE PSYCHES PARENTS ABANDON HER ON THE SUMMIT OF THE MOUNTAIN
DENIS MAURICE THE MEETING
DENIS MAURICE THE VISITATION
DENIS PANEL 2 ZEPHYR TRANSPORTING PSYCHE TO THE ISLAND OF D
DENIS PANEL 4 THE VENGEANCE OF VENUS, 1908, EREMITAGET
DENIS PANEL 5 IN THE PRESENCE OF THE GODS JUPITER BESTOWS I
DENIS WEDDING PROCESSION, CA 1892, EREMITAGET
DENIS, MAURICE FRENCH, 1870-1943 4
DENISMAURICE-REFLECTIONINAFOUNTAIN-SJ
EASTER MORNING OR EASTER MYSTERY (1891)
FORENTICE LANDSCAPE, VIALE DEI COLLI (1898)
GAMES IN THE SAND (ALSO KNOWN AS BEACH WITH FIGHTERS)
MATERNITE, ANNE MARIE ET MARTHE A LA BAGUE OVALE (1902)
MOTHERHOOD (1895)
MYSTIC ALLEGORY OR TEA (1892)
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Verena №1 2019 Россия. |
Verena №1 2019 Россия.
Издательство: ИД БурдаЯзык: русскийЖурнал для тех, кто предпочитает смелые и эффектные модели для ручного вязания. В каждом номере вынайдёте поистине уникальные идеи и оригинальные узоры разного уровня сложности - как для начинающихвязальщиц, так и для опытных мастериц, желающих продемонстрировать свои умения и подчеркнуть свойиндивидуальный стиль.
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ПАВЕЛ ДЖАКОУЛИТ (1896–1960) (ФРАНЦИЯ) |
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Gesmar, Чарльз (1900-1928). Эскизы костюмов (Music-hall)\1\ |
Gesmar, Чарльз (1900-1928). Эскизы костюмов (Music-hall)\1\
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Hieronymus Bosch | Northern Renaissance painter |
Hieronymus Bosch | Northern Renaissance painter
Hieronymus Bosch
Northern Renaissance painter
Maria Laterza
Hiëronymus Bosch, also spelled Jheronimus Bos, pseudonym of Jeroen van Aeken, Aeken also spelled Aquen or Aken, also called Jeroen Anthoniszoon (born c. 1450, ’s-Hertogenbosch, Brabant [now in the Netherlands] - buried August 9, 1516, ’s-Hertogenbosch), brilliant and original northern European painter whose work reveals an unusual iconography of a complex and individual style.
He was recognized as a highly imaginative “creator of devils” and a powerful inventor of seeming nonsense full of satirical and moralizing meaning.
Bosch was a pessimistic and stern moralist who had neither illusions about the rationality of human nature nor confidence in the kindness of a world that had been corrupted by human presence in it. His paintings are sermons on folly and sin, addressed often to initiates and consequently difficult to translate. Unable to unlock the mystery of the artist’s works, critics at first believed that he must have been affiliated with secret sects.
Although the themes of his work were often religious, his choice of symbols to represent the temptation and eventual ensnarement of humans in earthly evils caused many critics to view the artist as a practitioner of the occult arts. More recent scholarship views Bosch as a talented artist who possessed deep insight into human character and as one of the first artists to represent abstract concepts in his work. A number of exhaustive interpretations of Bosch’s work have been put forth, but there remain many obscure details.
An exact chronology of Bosch’s surviving work is difficult because, of the approximately 35 to 40 paintings attributed to him, only 7 are signed and none are dated. There exists little documentary information on the early life of the artist, other than the fact that he was the son and grandson of accomplished painters.
His name does appear on the register of the Brotherhood of Our Lady, located in the city of his birth, and there is mention of him in official records from 1486 until the year of his death, when he was acclaimed an Insignis pictor (“distinguished painter”). In addition to painting, he undertook decorative works and altarpieces and executed designs for stained glass.
Works attributed to his youthful period show an awkwardness in drawing and composition and brushwork somewhat limited in its scope.
Such paintings as The Cure of Folly, Crucifixion, The Adoration of the Magi, The Seven Deadly Sins, The Marriage at Cana, Ecce Homo and The Conjurer are representative of that period.
The presence of certain motifs, expanded in the more-sophisticated works of the artist’s middle period, and a limited technique, unsure yet bold, provide a beginning from which to view Bosch’s artistic origins.
Between the first painting in that early group, The Cure of Folly, and the last, The Conjurer, a steady development can be seen. The iconography of the latter is more complex, and the characteristic themes that received their fullest expression in the great masterpieces of his late period have begun to emerge.
In those early paintings Bosch had begun to depict humanity’s vulnerability to the temptation of evil, the deceptive allure of sin, and the obsessive attraction of lust, heresy, and obscenity. In calm and prosaic settings, groups of people exemplify the credulity, ignorance, and absurdities of the human race.
However, the imagery of the early works is still relatively conventional, with only an occasional intrusion of the bizarre in the form of a lurking demon or a strangely dressed magician.
To Bosch’s fruitful middle period belong the great panoramic triptychs such as the Haywain, The Temptation of St. Anthony, and The Garden of Earthly Delights. His figures are graceful and his colours subtle and sure, and all is in motion in those ambitious and extremely complex works.
The paintings are marked by an eruption of fantasy, expressed in monstrous apocalyptic scenes of chaos and nightmare that are contrasted and juxtaposed with idyllic portrayals of humankind in the age of innocence. During this period Bosch elaborated on his early ideas, and the few paintings that survive establish the evolution of his thought. Bosch’s disconcerting mixture of fantasy and reality is further developed in the Haywain, the outside wings, or cover panels, of which recall the scenes of The Seven Deadly Sins.
The cursive style that he worked out for the triptych resembles that of watercolour.
In the central panel, a rendition of the Flemish proverb:
"The world is a haystack from which each takes what he can"Bosch shows the trickery of the demon who guides the procession of people from the earthly paradise depicted on the left wing to the horrors of hell shown on the right one.
Bosch’s The Temptation of St. Anthony displays his ascent to stylistic maturity. The brushstrokes are sharper and terser, with much more command than before.
The composition becomes more fluid, and space is regulated by the incidents and creatures that the viewer’s attention is focused on.
His mastery of fine brush-point calligraphy, permitting subtle nuances of contour and movement, is fully evident.
Bosch portrays the human struggle against temptation, as well as the omnipresence of the Devil, in his St. Anthony, one of the best keys to the artist’s personal iconography. The hermit saint in this work is cast as the heroic symbol of humankind. In the central panel St. Anthony is beset by an array of grotesque demons, their horrible bodies being brilliantly visualized amalgamations of human, animal, vegetable, and inanimate parts.
In the background is a hellish, fantastically bizarre landscape painted with the most exquisite detail. Bosch’s development of the theme of the charlatan deceiving humans and taking away their salvation receives its fullest exposition in St. Anthony, with its condemnation of heresy and the seductions of false doctrines.
The Garden of Earthly Delights, representative of Bosch at his mature best, shows the earthly paradise with the creation of woman, the first temptation, and the Fall. The painting’s beautiful and unsettling images of sensuality and of the dreams that afflict the people who live in a pleasure-seeking world express Bosch’s iconographic originality with tremendous force.
The chief characteristic of this work is perhaps its dreamlike quality; multitudes of nude human figures, giant birds, and horses cavort and frolic in a delightfully implausible, otherworldly landscape, and all the elements come together to produce a perfect, harmonious whole.
Bosch’s late works are fundamentally different. The scale changes radically, and, instead of meadows or hellish landscapes inhabited by hundreds of tiny beings, he painted densely compacted groups of half-length figures pressed tight against the picture plane.
In those dramatic close-ups, of which The Crowning with Thorns and Christ Carrying the Cross are representative, the event is portrayed so near that the spectator seems to participate in it physically as well as psychologically. The most peaceful and untroubled of Bosch’s mature works depict various saints in contemplation or repose. Among those works are St. John the Evangelist on Patmos and St. Jerome in Prayer.
Bosch’s preoccupation in much of his work with the evils of the world did not preclude his vision of a world full of beauty. His adeptness at handling colour harmonies and at creating deeply felt works of the imagination is readily apparent.
Though a spate of imitators tried to appropriate his visual style, its uniqueness prevented his having any real followers. | © Encyclopædia Britannica, Inc.
Hieronymus Bosch - The garden of earthly delights (detail)
Hieronymus Bosch - The garden of earthly delights
Hieronymus Bosch -nome d'arte di Jeroen Anthoniszoon van Aken ('s-Hertogenbosch, 2 ottobre 1453 - 's-Hertogenbosch, 9 agosto 1516) è stato un pittore Olandese**.
Fu noto come El Bosco in lingua spagnola, Gerolamo Bosco o Bosco di Bolduc in quella italiana (da Bosch e Bois le Duc, traduzione francese di 's-Hertogenbosch = Bosco Ducale, città natale di Bosch); in alcuni suoi dipinti si firmò con il solo cognome, Bosch (Boss nella pronuncia olandese).La ricchezza di inventiva nelle sue opere, vere e proprie visioni, ha chiamato in causa dottrine diverse, tra esse la psicoanalisi, ciascuna delle quali dette una propria lettura, talvolta anche non compatibile storicamente.
Sicuramente la sua opera andò di pari passo con le dottrine religiose e intellettuali dell'Europa centro-settentrionale che, al contrario dell'Umanesimo italiano, negavano la supremazia dell'intelletto, ponendo piuttosto l'accento sugli aspetti trascendenti e irrazionali: ne sono esempio le prime elaborazioni di Martin Lutero e le opere di Sebastian Brandt ed Erasmo da Rotterdam.
Con grande ironia, Bosch mise in scena i conflitti dell'uomo rispetto alle regole imposte dalla morale religiosa, quindi la caduta nel vizio e il destino infernale per redimersi dal quale appare il riferimento alle vite dei santi, attraverso l'imitazione della loro vita dedita alla meditazione anche se circondati dal male, sia nelle tavole con la Passione di Cristo, attraverso la meditazione sulle pene sofferte dal Cristo, per riscattare dal peccato universale il genere umano, che porta all'immedesimazione stessa del riguardante e alla salvezza.
Bosch non datò mai i suoi dipinti e ne firmò solo alcuni.
Il re Filippo II di Spagna fu un appassionato collezionista dei suoi lavori, da qualche decennio dopo la morte del pittore; come risultato la Spagna è oggi il paese che in assoluto possiede il maggior numero di opere del pittore, soprattutto al Museo del Prado e al Monastero dell'Escorial a Madrid.
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Johan Messely, 1927 | The Secret Gardens |
Johan Messely, 1927 | The Secret Gardens
Johan Messely, 1927
The Secret Gardens
Johan Messely is a painter from Belgium. Johan Messely grew up in the artistic world of his father Paul Messely, also a painter, who served as his great example and motivation. After his studies into technical engineering and later photography, Johan settled as a proffessional photographer in Menen, Belgium, but eventually decided to turn painting from being just a hobby into his main occupation.
Johan aims to create scenes in which the subtle play between light and shadow takes the central stage.
His oil paintings are sunny and colourful, and depict optimism and the joy of life. They can be descibed as figurative art, but with an impressionistic touch. Apart from oil on canvas.
Johan also has a passion for pastel, in which he depicts the woman in a natural pause. Again here, the combination of light and shadow are an important part of his work.
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Johan Messely è un pittore Belga, cresciuto nel mondo artistico di suo padre Paul Messely, che era anche lui un pittore.
Johan ha completato i suoi studi in ingegneria tecnica e poi ha fatto il suo corso di fotografia. Si è poi stabilito come fotografo professionista a Menen, Belgio.
Ma era più incline alla pittura e in seguito il suo hobby "pittura" si trasformò nella sua attività principale. Nei quadri di Johan luce e ombra gioca un ruolo molto importante.
Le scene create da lui raffigurano la felicità, la gioia e l'ottimismo della vita.
I suoi dipinti sono stati definiti "arte figurativa con un tocco impressionista". Ama dipingere con vari mezzi, ma si specializza in olio e ha la passione per i pastelli.
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Фотографии США на рубеже 19-20 веков |
Уникальные фотографии США конца 1800-х начала 1900-х годов.
Просто красиво. Всегда интересно посмотреть как жили люди в то время.
Подумайте, как на наши фото будут смотреть спустя 100 лет наши потомки.
http://www.webpark.ru/comment/fotografii-ssha-na-rubege-19-20-vekov
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Fernand Toussaint (1873-1956)| Post-Impressionist painter Portrait and Figure |
Fernand Toussaint
Post-Impressionist painter
Fernand Toussaint (1873-1956)Ё was equally at ease painting in all categories, from landscapes and seascapes to beautiful bouquets and still lifes, but it is in his intimate portraiture and genre paintings that we discover, according to Mario de Monchi, Toussaint as the “incontestable master of the grace and charm of the woman”.
His classical artistic schooling in drawing gave his work a certain precision, but it was Toussaint’s travels and friendships, notably in Paris and London, that influenced his choice of palette and the tender sensuality with which he endowed the paintings he most loved creating, his portraits of women.
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Born in Brussels in 1876, Toussaint was fortunate to come from a family that not only identified, but encouraged his artistic talents as a boy. He enrolled at the Brussels Academy of Fine Arts at the age of fifteen to study under the portrait painter Jean-François Portaels, but when he was eighteen left to finish his studies in Paris, where he trained under Alfred Stevens.
Paris was important for the wider influences the city endowed upon Toussaint: he became acquainted with the works of Nicolas Lancret and Maurice-Quentin Latour whose fêtes galantes and paintings of women were to influence him. Despite his versatility, it was his studies of women that remained dearest to Toussaint’s heart throughout his life. Indeed it was for the portrait of a woman, entitled Spring, that Toussaint was awarded the Paris Salon’s Gold Medal in 1929 and such was the painting’s success that the magazine L’Illustration did him the honour of printing the work as a colour off-print.
Toussaint loved and was appreciated in Paris, but he was also attracted to London and to British painters such as George Romney, Thomas Lawrence, Joshua Reynolds and Thomas Gainsborough in whose works he discovered the poetic and sentimental charm of the Englishwoman.
With his refined taste and sensitivities, Toussaint also excelled as a painter of flowers. He had a particular predilection for roses, often in full bloom, but more modest and even fragile flowers such as pansies and sweet peas were depicted with the same delicate attention and emotion. Although essentially an urban dweller, Toussaint nevertheless experienced the joy of solitude in nature, especially in Belgium, and so he often returned home with landscapes and seascapes of great simplicity as well as interest. His representation of a stroll in front of a cottage garden bursting with flowers, the little group of picnickers in the park and the rural solitude captured around a bridge over the canal in Damme are typical, but he also painted views of the Belgian coast with its dunes and harbours.
Finally, with the growth of branded products and advertising at the end of the 19th century, Toussaint, like many of his contemporaries, also turned to commercial art and produced a series of posters, the most famous of which was for a leading brand of Belgian coffee, entitled Café Jacqmotte, in 1896.
Toussaint died in 1955, in Ixelles (Brussels), and his work fell somewhat into oblivion. Today, many of Fernand Toussaint’s works are in foreign collections, but happily there is now renewed interest in his paintings and with good reason. Toussaint’s works, whether in oil or watercolours, attract us as much through the opulence of his palette as by the harmony of tones and his delicate touch, whether the subject is a portrait, a bouquet of flowers or, somewhat rarer, the still lifes and views of towns, seascapes and landscapes with their deep greens and rhythmic skies.
The attitude of Toussaint’s models is always elegant, with a natural regard and pose and his sitters, whether young or not-so-young, convey the qualities appreciated at the time, a certain hermetic gravity and lack of communication (the creature in Toussaint’s portrait Sphinx, exhibited in 1926, with its sharp regard and elation, is a notable exception). Our attention is drawn to his subject’s face because Toussaint made sure, even by having a ‘reserve’ wardrobe at his studio, that the subject was not eclipsed by extravagant clothes of the period, which might detract from the person or indeed become quickly demoded.
In this new millennium, it is perhaps not surprising that Fernand Toussaint’s sensitive paintings are finding a new audience, which is discovering after far too long an absence this courteous and distinguished master. Toussaint kept his own life and experience discreet, whilst celebrating in his remarkable canvases the image of women in the serenity of an upper middle class apparently without problems, an image portrayed with tact, knowledge and reflexion that has nothing in common with those all too easy images of spontaneous simplicity. In Toussaint’s works there is a pervading atmosphere of tranquillity and discrete light, where silence and reserve convey respectability. | fernandtoussaint.com
Egli divenne l'allievo più dotato di Portaels Jean presso l'Accademia di Bruxelles tra il 1899-1894.
Ha debuttato all'inizio della sua carriera al "Salon des Artistes Français".
A Parigi, conobbe il pittore belga Alfred Stevens che lo incoraggiò a sviluppare l'arte del ritratto divenendo al tempo uno dei più famosi pittori del genere, soprattutto grazie alla sua sensibilità e alla poesia femminile.
L'intera opera di Toussaint riflette l'influenza dell'impressionismo francese, la sua ammirazione per la tradizione della ritrattistica inglese, e la tradizione romantica belga.
tuttartpitturasculturapoesiamusica.com
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Хдожник Джошуа Рейнольдс Великобритания 17231792 |
Хдожник Джошуа Рейнольдс
Великобритания 1723−1792
Портрет Джейн Флеминг, графини Харрингтон
Леди Кэролайн Скотт в образе "Зимы"
Портрет Пенелопы Бутби (Чепчик)
Портрет леди Каролины Говард
Портрет адмирала лорда Хитфилда, губернатора Гибралтара
Джорджиана, герцогиня Девонширская
Портрет полковника Джорджа К. Г. Каусмейкера
Полковник Джон Хейз Сент-Ледже
Портрет Сары Сиддонс в виде музы Трагедии
Леди Джейн Холлидей
Джорджиана, герцогиня Девонширская с дочерью леди Джорджианой КавендишДжошуа Рейнольдс 1784, 112.4×140.3 см
Леди Уолдгрейв за столом. Фрагмент
Портрет коммодора Августа Кеппела
Леди Бампфилд
Амур развязывает пояс Венеры
Портрет Нелли О’Брайен
Эпоха невинности
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Хоть нежным образом и манишь, но ты для всех одна мечта... |
Ты красотой своей дурманишь,
И сводишь всех мужчин сума.
Хоть нежным образом и манишь,
Но ты для всех одна мечта.
Красива ты не только внешне,
Прелестна и твоя душа.
С тобою стала жизнь безгрешной –
Ведь миром правит красота.
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Садовая мебель из блоков: идеи |
Красоту можно творить изо всего.
Было бы вдохновение.
Идеи для вдохновения мы вам и предлагаем.
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Коллекция стежков для вышивки |
Искусство вышивания имеет многовековую историю. О существовании вышивки в эпоху Древней Руси говорят находки археологов, относящиеся к 9-10 веков.
Есть шанс приобщиться к вечному.
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Москва дореволюционная 1867 год: виды с храма Христа Спасителя |
Найденов, Москва в 1867 году.
Эти фотографии взяты из альбома русского мецената Н.А. Найденова (1834-1905), который в 1867 году заказал дорогостоящую по тем временам фотосъемку. В качестве исполнителя выступила московская фотографическая компания “Шерер, Набгольц и К°”. (15 фотографий)
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