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4102 a christmas carol alexa all saints church annie miller arie spartali stillman aspecta medusa baron von gloeden beata beatrix beatrice meeting dante at a marriage feast birchington blackfriars bridge burne-jones camille bonard carlisle wall chatham place christina georgina christina georgina rossetti christina rossetti christina rossetti. clark dante gabriel ross dante gabriel rossetti dudley gallery edward poynter edward robert hughes eleanor fortescue-brickdale elizabeth siddal eugene onegin feet ferdinand preiss fetish fiammetta first anniversary ford madox brown francois-joseph navez frederic william burton gabriel charles dante gabriel charls dante rossetti girls goblin market grave of dante gabriel rossetti hans suren heartsease pansy honesuckle j.r.herbert jan marsh jodie john everett millais john inchbold john melhuish strudwick john roddam spencer stanhope karl truppe kelmscort manor kelmscott mano kent la pia de' tolomei lady lawrence leda mit dem lempica liberty list of pre-raphaelite paintings louis de taeye mariana mary magdalene at the door of simon the pharisee mary nazarene moore morris naked nude painting palazzo del padesta pallas pre-raphaelite preiss robert browning rossetti russian sevenoaks smeralda bandinelli st. reparata study the third reich the third reich's nu the beloved the blue silk dress the glacier of roselaui the lady of shalott the maids of elfen-mere the rossetti family ulalume vampyre venus verticordia w b scott walter deverell water willow william holman hunt william michael woman in yellow women working men's college à.ñ. ïóøêèí àâòîïîðòðåò àä äàíòå / dante's inferno 1967 àííè ìèëëåð àðòóð õüþç á¸ðí-äæîíñ áàëåò áåàòðè÷å âèëüãåëüì õåìïôèíã âèëüÿì ðîññåòòè âîçëþáëåííàÿ ãàííèáàë ëåêòåð ãåíèàëüíàÿ ãîìèêè ãðàíò âóä äàíòå äàíòå ãàáðèýëü ðîññåòòè äæåéí ìîððèñ äæåéí ìîððèñ á¸ðäåí äæîí ðîääýì ñïåíñåð ñòåíõîóï äæîí ý́âåðåòò ìèëëǻ æèâîïèñü èñêàòåëü èñêóññòâî êàíàäñêèé ñóðîê êàíóí ñâ. àãíåññû êàðë òðóïï êåííåò êëàðê êîëåãîâà êðèñòèíà ðîññåòòè êýððîëë ëåìïèöêà ëåìïèöêàÿ ìàíå ìàðè ñïàðòàëè ñòèëìàí ìàðèèíñêèé ìàðèÿ ìàãäàëèíà ìåíàäû ìîððèñ ìóçåè íàãîòà íàñèëèå íîâûé ðîìàí íîæêè îáíàæ¸ííàÿ ïåéçàæ ïèÿ äå òîëîìåè ïîýçèÿ ðîññåòòè ïîýçèÿ. christina rossetti poems ïðåêðàñíûå ðó÷êè ïðåðàôàýëèòû ïðåðàôàýëèòû ðîññåòòè ìóçåé äåëàâàðàñêèé ïðîçåðïèíà ðåòåëü. íåìåçèäà ðîìàí ðîìåî ðîññåòòè ñåêñ ñèääàë ñìîòðåòü ñîìîâà ñîöðåàëèçì ñòèõè òàìàðà ëåìïèöêà òåðåøêîâà óèëüÿì ìîððèñ óîë óîòåðõàóç ôàííè êîðíôîðò ôåòèø ôî́ðä ìý́äîêñ áðà́óí ôðèäåðèê ëåéòîí õàíò õüþç ÷ààäàåâ ÷àñîâíÿ ïîäåñòà ý ë á å ð ò ã ð ý ì ýâåëèí äå ìîðãàí ýãã ýäâàðä ðîáåðò õüþç ýëèçàáåò ñèääàë ýïèãðàô ýññå

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Ïîèñê ñîîáùåíèé â ëþäàí_êóïîë

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an english autumn afternoon annie miller aspecta medusa beata beatrix burne-jones carlisle wall christina georgina rossetti christina rossetti dante gabriel rossetti eleanor fortescue-brickdale eugene onegin fanny co feet fetish frank cadogan cowper gabriel charls dante rossetti gg augustus leopold girls goblin market hannibal lecter john everett millais kelmscort manor la girlandata la pia de' tolomei lady lawrence lempica madox brown mariana mary magdalene at the door of simon the pharisee may morris naked nude regent street rossetti sancta lilias simeon solomon sing song a nursery rhyme book stacy marks the damsel of the sanct grael the music master vampyre william holman hunt william michael rossetti willian allinham working men's college àðòóð õüþç áàëåò áåñïëàòíî áëàæåííàÿ áåàòðè÷å áîéñ ãàëåðåÿ òåéò ãàìëåò è îôåëèÿ ãåíðè òðåôôðè äóí ãîëóáü ãðàíò âóä äàíòå äàíòå ãàáðèýëü ðîññåòòè äæåéí ìîððèñ äæåéí ìîððèñ á¸ðäåí æèâîïèñü æèâîòíûå èñêàòåëü èñêóññòâî êëàðê êðèñòèíà ðîññåòòè ëåìïèöêàÿ ìàðèèíñêèé ìàðèÿ ìàãäàëèíà ó äâåðåé ñèìîíà-ôàðèñåÿ ìåíàäû íàãîòà íîâûé ðîìàí íîæêè ïîýçèÿ. christina rossetti poems ïðåðàôàýëèòû ïðîçåðïèíà ðèñóþùèé àíãåëà ðîìàí ðîññåòòè ñèääàë ñèìâîëèçì ñêà÷àòü ñîìîâà ñîöðåàëèçì òî́ìàñ êàðëǻéëü óîòåðõàóç ôàííè êîðíôîðò õàíò õüþç ÷ààäàåâ ýïèãðàô
Êîììåíòàðèè (1)

ÏÐÅÄÒÅ×È. PRECURSORS.

Äíåâíèê

×åòâåðã, 28 ßíâàðÿ 2010 ã. 16:13 + â öèòàòíèê

      

ÏÐÅÄÒÅ×È. PRECURSORS.

 

 

 

                                           

 

   

 

 

                               

                                                                                                     3

      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 (336x433, 110Kb)  Theodor von Holst: The Bride, 1842.

     Õàëüñò ñòàë âàæíûì ñâÿçóþùèì çâåíîì ìåæäó õóäîæíèêàìè ðàííåãî ðîìàíòèçìà, òàêèìè êàê åãî ó÷èòåëü Ãåíðè Ôîêñëè, è ïðåðàôàýëèòàìè. Âëèÿíèå Õàëüñòà íà ïðåðàôàýëèòîâ îòíîñèòñÿ ê ïåðèîäó, êîãäà åãî óæå íå áûëî â æèâûõ. Óèëüÿì Áåëë Ñêîòò, Ðîññåòòè, Ìîíðî è Ìèëëåñ è÷åñêèìè îáðàçàìè åãî ïðîèçâåäåíèé. Ðîññåòòè ðàçäåëÿë óâëå÷åíèå Õîëüñòà òâîð÷åñòâîì øòå è Äàíòå.

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

       Àëåêñàíäð Ìàíðî âëàäåë áëîêíîòîì "ò¸ìíûõ" 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".

     Ðàííèå ðèñóíêè òóøüþ Ðîññåòòè íàïîìèíàþò òåìàòèêîé (ñâåðõúåñòåñòâåííîå) 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" 1863 ã. êàê "ñàìîå ïðåêðàñíîå ïðîèçâåäåíèå"

 

 

 

 


Ìåòêè:  
Êîììåíòàðèè (1)

ÏÐÅÄÒÅ×È. PRECURSORS.

Äíåâíèê

×åòâåðã, 28 ßíâàðÿ 2010 ã. 16:13 + â öèòàòíèê

      

ÏÐÅÄÒÅ×È. PRECURSORS.

 

 

 

                                           

 

   

 

 

                               

                                                                                                     3

      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 (336x433, 110Kb)  Theodor von Holst: The Bride, 1842.

     Õàëüñò ñòàë âàæíûì ñâÿçóþùèì çâåíîì ìåæäó õóäîæíèêàìè ðàííåãî ðîìàíòèçìà, òàêèìè êàê åãî ó÷èòåëü Ãåíðè Ôîêñëè, è ïðåðàôàýëèòàìè. Âëèÿíèå Õàëüñòà íà ïðåðàôàýëèòîâ îòíîñèòñÿ ê ïåðèîäó, êîãäà åãî óæå íå áûëî â æèâûõ. Óèëüÿì Áåëë Ñêîòò, Ðîññåòòè, Ìîíðî è Ìèëëåñ è÷åñêèìè îáðàçàìè åãî ïðîèçâåäåíèé. Ðîññåòòè ðàçäåëÿë óâëå÷åíèå Õîëüñòà òâîð÷åñòâîì øòå è Äàíòå.

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

       Àëåêñàíäð Ìàíðî âëàäåë áëîêíîòîì "ò¸ìíûõ" 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".

     Ðàííèå ðèñóíêè òóøüþ Ðîññåòòè íàïîìèíàþò òåìàòèêîé (ñâåðõúåñòåñòâåííîå) 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" 1863 ã. êàê "ñàìîå ïðåêðàñíîå ïðîèçâåäåíèå"

 

 

 

 


Ìåòêè:  

 Ñòðàíèöû: [1]