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ÏÎÐÒÐÅÒÍÎÆÀÍÐÎÂÎÂÅÍÅÖÈÀÍÑÊÎÅ CARL LUDWIG FRIEDRICH BECKER (GERMAN, 1820-1900)

×åòâåðã, 15 Ôåâðàëÿ 2018 ã. 08:36 + â öèòàòíèê
Öèòàòà ñîîáùåíèÿ Alexandra-Victoria ÏîðòðåòíîÆàíðîâîÂåíåöèàíñêîå Carl Ludwig Friedrich Becker (German, 1820-1900)

 

ÏîðòðåòíîÆàíðîâîÀóêöèîííîÂåíåöèàíñêîå


Íàâåäèòå êóðñîð, ÷òîáû óâèäåòü íàçâàíèå

L08101-369-lr-1.Ìîëîäàÿ äàìà, ñèäÿùàÿ ó êàìèíà

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Êàðë Ëþäâèã Ôðèäðèõ Áåêêåð (íåì. Karl (Ludwig Friedrich) Becker; 1820—1900) — íåìåöêèé èñòîðè÷åñêèé æèâîïèñåö XIX âåêà.
Êàðë Ëþäâèã Ôðèäðèõ Áåêêåð ðîäèëñÿ 18 äåêàáðÿ 1820 ãîäà â ãîðîäå Áåðëèíå.
Ñ 1837 ïî 1840 ãîä ó÷èëñÿ â Áåðëèíñêîé àêàäåìèè õóäîæåñòâ, à çàòåì ïðîäîëæèë îáó÷åíèå â áåðëèíñêîé ñòóäèè Àâãóñòà Êë¸áåðà (íåì. August von Kloeber), ïîñëå ÷åãî ïåðååõàë â ãîðîä Ìþíõåí, ãäå ñîâåðøåíñòâîâàë ìàñòåðñòâî ïîä íà÷àëîì Ãåíðèõà Ìàðèÿ ôîí Ãåññà (íåì. Heinrich Maria von Hess).
Ïîçäíåå áûë èçáðàí ÷ëåíîì ñîâåòà Áåðëèíñêîé àêàäåìèè õóäîæåñòâ, à çàòåì è ïî÷¸òíûì ïðåçèäåíòîì àêàäåìèè. Íà ñâîèõ ïîëîòíàõ õóäîæíèê èçîáðàæàë ïðåèìóùåñòâåííî ñöåíû èç âåíåöèàíñêîé æèçíè â XVI è XVII âåêàõ.
Young Lady With Roses In Her Hair, 1871
Ñíèìîê (299x465, 386Kb) êîíöå XIX — íà÷àëå XX âåêà íà ñòðàíèöàõ «Ýíöèêëîïåäè÷åñêîãî ñëîâàðÿ Áðîêãàóçà è Åôðîíà» áûëà äàíà ñëåäóþùàÿ îöåíêà åãî ðàáîòàì:
Êàðòèíû Á. âîîáùå íå îòëè÷àþòñÿ ãëóáèíîþ èäåè è äðàìàòèçìîì, íî çàìå÷àòåëüíû ïî ñèëå è áëåñêó êðàñîê, ñî÷íîñòè ïèñüìà è òî÷íîìó âîñïðîèçâåäåíèþ âñåãî áûòà Âåíåöèè â öâåòóùóþ å¸ ïîðó.
Ñðåäè åãî ðàáîò íàèáîëåå èçâåñòíûìè ÿâëÿþòñÿ: «Ñåáàñòèàíî äåëü Ïüîìáî â ãîñòÿõ ó Òèöèàíà» (1861), «Âåíåöèàíñêèé ìàñêàðàä» (1863), «Äîæ â çàñåäàíèè Ñîâåòà Äåñÿòè» (1864), «Êàðë V ïîñåùàåò Ôóããåðà» (1866; áûëà âûñòàâëåíà â Áåðëèíñêîé íàöèîíîé ãàëåðåå), «Îòåëëî, ðàññêàçûâàþùèé Äåçäåìîíå è Áðàáàíöèî î ñâîèõ ïðèêëþ÷åíèÿõ» (Áðåñëàâñêèé ìóçåé), «À. Äþðåð â Âåíåöèè» (1872), «Ñöåíà èç øòöà ôîí Áåðëèõèíãåíà» (ʸëüíñêèé ìóçåé), «Áàë ó äîæà âî âðåìÿ êàðíàâàëà» (1884; â Áåðëèíñêàÿ íàöèîíàÿ ãàëåðåÿ).
 Êóøåëåâñêîé ãàëåðåå ïðè ìóçåå Ñàíêò-Ïåòåðáóðãñêîé àêàäåìèè õóäîæåñòâ áûëà âûñòàâëåíà «î÷åíü õàðàêòåðèñòè÷íàÿ êàðòèíà» Áåêêåðà «Ãîñïîæà è Ïàæ».
Carnival in the Doge’s Palace
Êàðë Ëþäâèã Ôðèäðèõ Áåêêåð ñêîí÷àëñÿ 20 äåêàáðÿ 1900 â ðîäíîì ãîðîäå, ñïóñòÿ ÷óòü áîëåå ñóòîê ïîñëå ñâîåãî 80-ëåòíåãî þáèëåÿ.
Ìíîãèå ðàáîòû õóäîæíèêà áûëè ïðîäàíû íà àóêöèîíå, â òîì ÷èñëå êàðòèíà âûøå 'Carnival in the Doge’s Palace' sold at Dorotheum '19th Century Paintings' in 2009 for $14,673.

Îòåëëî


Portrait of a lady in a lace cap with blue ribbons.

Scene of the Venetian Carnival

Viewing the Estate, 1889.

ANTON FÜGGER BURNING THE DEBENTURE BONDS OF CHARLES V IN 1535 , 1869

ANTON FÜGGER BURNING THE DEBENTURE BONDS OF CHARLES V IN 1535.



Town at Night.

OTHELLO RELATING HI STORIES TO

Nymphes au bois.

Mother and Child, 1878.


In der Gemäldegalerie, 1861.

THE TRIUMPHAL RETURN

2012_NYR_02570_0228_000(carl_ludwig_friedrich_becker_emperor_maximilian_at_verona_receiving_th)



Galante Szene.

KPM Painted Porcelain Plaque of Romeo and Juliet Before Friar Lawrence.

Portrait des Malers Anselm Feuerbach (1829-1880).

The Paige (Behind the Curtain), 1857

The Rhenish Milk Maid as Well-Wisher.

Ulanen.

Venetian Engagement, Circa 1850.
Romeo and Juliet before Father Lawrence
At the firplace, 1857.

4CMTP_AM0951-72.jpg The Petition to the Doge



HERREN PORTRAIT.

Young Couple







The return

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a7566032e868f0ce3f9226b983f482c3.jpg




Tending to the fire
 

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