-Ìåòêè

a revery annie miller arthur hughes aspecta medusa baron von gloeden beata beatrix bluebird burne-jones carlisle wall christina georgina rossetti christina rossetti clark cristina rossetti dante gabriel rossetti dr john polidori dudley gallery edward poynter eleanor fortescue-brickdale elizabeth eleanor siddal elizabeth siddal english version eugene onegin fanny co feet fetish fiammetta first anniversary ford madox brown found francois-joseph navez frederic william burton gabriel charles dante gabriel charls dante rossetti george price boyce girls goblin market hans suren he story of st. george and the dragon holy grail jacques-louis david john byam shaw john everett millais john roddam spencer stanhope karl truppe kelmscort manor kent la pia de' tolomei lady lawrence lempica liberty list of pre-raphaelite paintings louis de taeye magdalene maria francesca mariana mary magdalene at the door of simon the pharisee mary nazarene moore morris naked nude orient goods oxfordshire painting pallas pansy patricia peasant venus pre-raphaelite raphaelite brotherhood rayskin reich rossett rossetti self portrait sevenoaks sir john everett millais soviet study the third reich the blessed damozel the raven vampyre vanitas vision of fiammetta w b scott william holman hunt women working men's college àä äàíòå / dante's inferno 1967 àðòóð õüþç áàëåðèíû áàëåò áåëûå ðîçû áåñïëàòíî áëàæåííàÿ áåàòðè÷å âîðîí ãåòåðà ãîëóáü ãðàíò âóä äàíòå äàíòå ãàáðèýëü ðîññåòòè äâåíàäöàòàÿ íî÷ü äæåéí ìîððèñ äæåéí ìîððèñ á¸ðäåí äæîí óèëüÿì ïîëèäîðè åâãåíèé îíåãèí æèâîïèñü æèâîòíûå èíòåðíåò èñêàòåëü èñêóññòâî êåííåò êèíî êëàðê êîëåãîâà êîðîëåâà êðèñòèíà ðîññåòòè ëàðåö êîðîëÿ ðåíå? ëåìïèöêà ëåìïèöêàÿ ëåðìîíòîâ ìàðèèíñêèé ìàðèÿ ôðàí÷åñêà ìåíàäû ìåíäåëååâ ìîððèñ ìóçåè ìýäîêñ áðàóí íàãîòà íàéäåíà íàéäåííàÿ íàñèëèå íîâûé ðîìàí íîæêè îáíàæ¸ííàÿ îíëàéí ïèÿ äå òîëîìåè ïîýçèÿ ðîññåòòè ïîýçèÿ ðîññåòòè ïðåðàôàýëèòû ïðîçåðïèíà ðîìàí ðîññåòòè ñàìîõâàëîâ ñåêñ ñèääàë ñêîòò ôèòöæåðàëüä ñìîòðåòü ñîìîâà ñîöðåàëèçì ñòàñîâ ñòèõè òàìàðà ëåìïèöêà òðåòèé ðåéõ óèëüÿì ìîððèñ óîòåðõàóç ôàííè êîðíôîðò ôåòèø ôèàìåòòà ôîòî ôðèäåðèê ëåéòîí õàíò õüþç ÷ààäàåâ øàðëîò ñòðèò ý ë á å ð ò ã ð ý ì ýâåëèí äå ìîðãàí ýêçèñòåíöèÿ ýëèçàáåò ñèääàë ýïèãðàô ýññå

 -Ðóáðèêè

 -Ïîèñê ïî äíåâíèêó

Ïîèñê ñîîáùåíèé â ëþäàí_êóïîë

 -Ïîäïèñêà ïî e-mail

 

 -Ñîîáùåñòâà

Ó÷àñòíèê ñîîáùåñòâ (Âñåãî â ñïèñêå: 1) Live_Memory

 -Ñòàòèñòèêà

Ñòàòèñòèêà LiveInternet.ru: ïîêàçàíî êîëè÷åñòâî õèòîâ è ïîñåòèòåëåé
Ñîçäàí: 27.08.2009
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Íàïèñàíî: 559


ÏÐÅÄÒÅ×È

Ïîíåäåëüíèê, 05 Íîÿáðÿ 2018 ã. 19:39 + â öèòàòíèê

T14386_10 (336x429, 18Kb)

 

3

Òåîäîð ôîí Õîëüñò (Theodor von Holst

 

      Áîëüøîå âëèÿíèå íà áóäóùèõ áðàòüåâ îêàçàë óìåðøèé â 1844 ãîäó  óðîæåíåö Ëîíäîíà Òåîäîð ôîí Õîëüñò (Theodor von Holst), ñòàâøèé ñâÿçóþùèì çâåíîì ìåæäó õóäîæíèêàìè ðàííåãî ðåàëèçìà (åãî ó÷èòåëü Ãåíðè Ôîñëè) è ïðåðàôàýëèòàìè, êîòîðûå ïîçíàêîìèëèñü ñ åãî òâîð÷åñòâîì óæå ïîñëå åãî áåçâðåìåííîé êîí÷èíû.

  Óèëüÿì Áåëë Ñêîòò, Ðîññåòòè, Àëåêñàíäð Ìàíðî è Ìèëåñ áûëè âîñõèùåíû ìðà÷íûìè, òðàãè÷åñêèìè è ãîòè÷åñêèìè îáðàçàìè åãî ïðîèçâåäåíèé.

 

Theodor von Holst: The Bride, 1842.

Ìèëëåñ âèäåë åãî ðàáîòû â êîëåêöèè ñâîåãî ïåðâîãî ïîêðîâèòåëÿ Ðàëüôà Òîìàñà.

      Òàêæå îäèí âàðèàíò Íåâåñòû Ìèëëåñ ìîã âèäåòü â äîìå ëîðäà Ëýíäñäàóíà íà Áåðêëè - ñêâåð. Ëàíêàñòåð Õàóñ. Âîçìîæíî, èìåííî Íåâåñòà âäîõíîâèëà åãî íà ñîçäàíèå "Ïîäðóæêè íåâåñòû" è ñåðèè çàãàäî÷íûõ æåíñêèõ ïîðòðåòîâ 1850-õ.

       Àëåêñàíäð Ìàíðî âëàäåë áëîêíîòîì ðèñóíêîâ Õîëüñòà.

Dante Gabriel Rossetti, greatly admired Von Holst's work and according to Browne "considered him a significant link between the older generation of English Romantic painters, such as Fuseli and William Blake, and the Pre-Raphaelite circle".

 

 

Ñàòàíà èãðàåò ñ ÷åëîâåêîì íà åãî äóøó, ãðàâþðà 1847 ãîäà ïî ðèñóíêó Òåîäîðà ôîí Õîëñòà
 

     Ðàííèå ðèñóíêè òóøüþ Ðîññåòòè íàïîìèíàþò òåìàòèêîé è âûðàçèòåëüíîñòüþ ëèíèé ðàáîòû Õîëüñòà. À "Íåâåñòà" ÿâíî îêàçàëà âëèÿíèå íà ñåðèþ ïîÿñíûõ ïîðòðåòîâ ÷óâñòâåííûõ æåíùèí â äåêîðàòèâíûõ èíòåðüåðàõ, íà÷èíàÿ ñ "Bocca Bociata".  Ðîññåòòè óâèäåë "Íåâåñòó" â Ëîíäîíå â Ñòàôôîðä Õàóñ è óïîìÿíóë å¸ â ãëàâå ê êíèãå Àëåêñàíäðà Ãèëêðèñòà "Æèçíü Óèëüÿìà Áëåéêà" 1863ã. êàê "ñàìîå ïðåêðàñíîå ïðîèçâåäåíèå"

 

 

250px-Frankenstein_engraved (250x355, 39Kb)

 

Èëëþñòðàöèÿ ê Ôðàíêåíøòåéíó.

 

 

 

 

William Mulready 

 Â òåõíèêå ïðåäøåñòâåííèêîì ïðåðàôàýëèòîâ áûë Ìóëðåäè.  1820-õ æàíðîâûé æèâîïèñåö William Mulready äîáèâàëñÿ ÿðêîñòè öâåòîâ, íàíîñÿ î÷åíü òîíêèé ñëîé êðàñêè íà áåëûé ãðóíò.

William_Mulready_001 (250x300, 32Kb)

 

 

William Etty 

 

     Â êà÷åñòâå íàñòàâíèêà Õàíò ðàññìàòðèâàë êàíäèäàòóðó William Etty, ïîñëå äâàäöàòè ëåò óñèëèé ýòîò ïåâåö îáíàæ¸ííîé íàòóðû âñ¸ òàêè äîáèëñÿ óñïåõà è ñòàë ñâåðõìîäíûì. Íî óæå âî âðåìÿ þíîñòè Õàíòà åãî òðàêòîâêè êëàññè÷åñêèõ êîìïîçèöèé ïðèíåñëè åìó ïðîçâèùå "îáîéùèê". Åãî ìîäåëè îòëè÷àëèñü ñëàùàâîñòüþ, à ïðè¸ìû óõèùðåíèÿìè âêóñà ìîäèñòêè.

 


Etty_Andromeda (336x408, 99Kb)

 Andromeda.



735px-Etty-Candaules_King_of_Lydia_Shews_his_Wife_to_Gyges (412x336, 122Kb)
 

Candaules King of Lydia Shews his Wife to Gyges


The_Sirens_and_Ulysses_by_William_Etty,_1837 (448x300, 128Kb)

 

The Sirens and Ulysses by William Etty, 1837

 

   Õîëìàí Õàíò îòðèöàë â êà÷åñòâå ïðåäøåñòâåííèêîâ ïðåðàôàýëèòîâ õóäîæíèêîâ ðàííåãî õðèñòèàíñêîãî ñòèëÿ ( Herbert, Dyce, Maclise) è àíòèêâàðèàðèçìà. 

                         JOHN  ROGERS  HERBERT

John Rogers Herbert( 1810 –  1890) was an English painter who is most notable as a precursor of Pre-Raphaelitism.

   Herbert's work influenced the newly formed Pre-Raphaelite Brotherhood – who asked him to sponsor their publication The Germ, and whose artistic goal was to 'out-Herbert Herbert'. Herbert's paintings The First Introduction of Christianity into Great Britain (1842) and Our Saviour Subject to his Parents in Nazareth (1847) were the inspiration for the two most important early works of William Holman Hunt and John Everett Millais, founders of Pre-Raphaelitism. The two paintings, Hunt's A Converted British Family Sheltering a Christian Missionary and Millais' Christ in the House of His Parents were exhibited at the RA in 1850 to great controversy. Herbert used his position within the RA to help the young artists.

 

 

                                             Äýíèåë Ìàêëàéç èëè Ìàêëèñ 

 Äýíèåë Ìàêëàéç èëè Ìàêëèñ (àíãë. Daniel Maclise, 1806 — 1870) — èðëàíäñêèé è àíãëèéñêèé õóäîæíèê

    Õóäîæíèê ïðèíàäëåæàë ê òâîð÷åñêîìó ïîêîëåíèþ, ïðåäøåñòâóþùåìó íàïðàâëåíèþ ïðåðàôàýëèòîâ, íî âåñüìà îäîáðÿë è ðàçäåëÿë ñ íèìè íåêîòîðûå èäåè. Òàêèå åãî ïîëîòíà, êàê «Ðîæäåñòâî â çàìêå áàðîíà» (1838), «Ñöåíà èç "Äâåíàäöàòîé íî÷è"» (1840), «Ñöåíà èç „Óíäèíû“» (1843), «Äóõ ðûöàðñòâà» (1847), «Êîðîëü Êîôåòóà è íèùåíêà», à òàêæå «Ìàãäàëèíà ïîñëå ìîëèòâû» êàê ñòèëèñòè÷åñêè, òàê è òåìàòè÷åñêè ïåðåêëèêàåòñÿ ñ òâîð÷åñòâîì ÷ëåíîâ Áðàòñòâà ïðåðàôàýëèòîâ.  1857 ãîäó ïðèíÿë çàêàç, íàðÿäó ñ Ìèëëåñîì, Õàíòîì è Ðîññåòòè íà ñîâìåñòíîå ó÷àñòèå â èëëþñòðèðîâàíèè ïîýì Òåííèñîíà (èçä. Ìîêñîíà)

images (246x205, 12Kb)images (1) (249x202, 15Kb)xudozhnik_Daniel_Maclise_03 (448x325, 94Kb)

 

 

                                             Egg Augustus Leopold

 Egg Augustus Leopold, Ýãã Àâãóñò Ëåîïîëüä - àíãëèéñêèé õóäîæíèê, ïèñàë èñòîðè÷åñêèå è æàíðîâûå êàðòèíû.  1837 âîø¸ë â îáúåäèíåíèå "Êëèêà", çàíèìàâøåå êðèòè÷åñêóþ ïîçèöèþ ïî îòíîøåíèþ ê îðãàíèçàöèîííîé è õóäîæåñòâåííîé ïîëèòèêå àêàäåìèè. Áóíò ïðåðàôàýëèòîâ ïðèø¸ëñÿ Ýããó ïî äóøå. Îêàçûâàë îñîáîå ïîêðîâèòåëüñòâî Õàíòó.

Augustus_Leopold_Egg_-_The_Travelling_Companions_-_Google_Art_Project (330x274, 20Kb)

 

 

 

Ôëàêñìàí, Äæîí

Äæîí Ôëà́êñìàí, Äæîí Ôëà́êñìåí John Flaxman 1755 - 1826

      Íàèáîëüøóþ èçâåñòíîñòü ïîëó÷èëè ñäåëàííûå èì â Ðèìå èëëþñòðàöèè ê ïðîèçâåäåíèÿì Ýñõèëà, Ãîìåðà è Äàíòå Àëèãüåðè, íàãðàâèðîâàííûå Òîììàçî Ïèðîëè â ëèíåàðíîé ìàíåðå «î÷åðêîì». Òàêóþ ìàíåðó — îòêðûòèå Ôëàêñìàíà — îòíîñèëè â òî âðåìÿ ê ìîäíîìó ñòèëþ «íåîãðåê». Íà ñòèëü  ïðåðàôàýëèòîâ ïîâëèÿëè åãî ëèíåàðíûå ðèñóíêè.

Áåç íàçâàíèÿ (1) (273x185, 8Kb)   Áåç íàçâàíèÿ (270x186, 8Kb)

 

    Ïóáëèöèñò Òîìàñ Êàðëåéëü, êîòîðîãî âûñîêî öåíèëè ïðåðàôàýëèòû â êíèãå «Òåïåðü è ïðåæäå» (1843) ïðîòèâîïîñòàâèë óïîðÿäî÷åííîñòü ñðåäíåâåêîâîãî îáùåñòâà õàîòè÷íîñòè ñîâðåìåííîãî åìó. Õàíò  îäíî âðåìÿ æèë ðÿäîì ñ Êàðëåéëåì è òîò ïðèõîäèë ñìîòðåòü åãî êàðòèíû. 

 

       Òî́ìàñ Êàðëǻéëü (òàêæå Êà́ðëàéë, Thomas Carlyle, 1795—1881) — áðèòàíñêèé ïèñàòåëü, ïóáëèöèñò, èñòîðèê è ôèëîñîô øîòëàíäñêîãî ïðîèñõîæäåíèÿ, àâòîð ìíîãîòîìíûõ ñî÷èíåíèé «Ôðàíöóçñêàÿ ðåâîëþöèÿ» (1837), «Ãåðîè, ïî÷èòàíèå ãåðîåâ è ãåðîè÷åñêîå â èñòîðèè» (1841), «Èñòîðèÿ æèçíè Ôðèäðèõà II Ïðóññêîãî» (1858-65). Èñïîâåäîâàë ðîìàíòè÷åñêèé «êóëüò ãåðîåâ» — èñêëþ÷èòåëüíûõ ëè÷íîñòåé âðîäå Íàïîëåîíà, êîòîðûå ñâîèìè äåëàìè èñïîëíÿþò áîæåñòâåííîå ïðåäíà÷åðòàíèå è äâèãàþò ÷åëîâå÷åñòâî âïåð¸ä, âîçâûøàÿñü íàä òîëïîé îãðàíè÷åííûõ îáûâàòåëåé. 

 

Ìîðèö Ðåò÷,  

Ôðèäðèõ Àâãóñò Ìîðèö Ðåò÷  Friedrich August Moritz Retzsch,  1779,  Ãåðìàíèÿ — 1857

   Ìîëîäûå õóäîæíèêè â Àêàäåìèè íàõîäèëèñü ïîä âëèÿíèåì Ìîðèöà иòøà, ÷üè èëëþñòðàöèè øòå è Øåêñïèðà çàñòàâëÿëè âñïîìíèòü èñêóññòâî íåìåöêîãî Âîçðîæäåíèÿ.

 

Âàãíåð è ãîìóíêóë ê Ôàóñòó øòå.                                                                                  Èëëþñòðàöèÿ                                                                                                                                                               ê  Áóðå Øåêñïèðà.

 

250px-Wagner_mit_dem_Homunkulus (250x201, 16Kb)                                            Moritz_Retzsch_The_Tempest_act_III_scene_3 (250x219, 19Kb)

 

 

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