Искусство - скачать книги или читать онлайн. Страница 531

At fifteen, Turner was already exhibiting View of Lambeth. He soon acquired the reputation of an immensely clever watercolourist. A disciple of Girtin and Cozens, he showed in his choice and presentation of theme a picturesque imagination which seemed to mark him out for a brilliant career as an illustrator. He travelled, first in his native land and then on several occasions in France, the Rhine Valley, Switzerland and Italy. He soon began to look beyond illustration. However, even in works in which we are tempted to see only picturesque imagination, there appears his dominant and guiding ideal of lyric landscape. His choice of a single master from the past is an eloquent witness for he studied profoundly such canvases of Claude as he could find in England, copying and imitating them with a marvellous degree of perfection. His cult for the great painter never failed. He desired his Sun Rising through Vapour and Dido Building Carthage to be placed in the National Gallery side by side with two of Claude’s masterpieces. And, there, we may still see them and judge how legitimate was this proud and splendid homage. It was only in 1819 that Turner went to Italy, to go again in 1829 and 1840. Certainly Turner experienced emotions and found subjects for reverie which he later translated in terms of his own genius into symphonies of light and colour. Ardour is tempered with melancholy, as shadow strives with light. Melancholy, even as it appears in the enigmatic and profound creation of Albrecht Dürer, finds no home in Turner’s protean fairyland – what place could it have in a cosmic dream? Humanity does not appear there, except perhaps as stage characters at whom we hardly glance. Turner’s pictures fascinate us and yet we think of nothing precise, nothing human, only unforgettable colours and phantoms that lay hold on our imaginations. Humanity really only inspires him when linked with the idea of death – a strange death, more a lyrical dissolution – like the finale of an opera.

Abandoning a French look on the subject, Mrs. Bossan, the author, develops her study with a dichotomous vision: that of time that touches the history of mankind and that of geography and sociology, which lead to an almost ethnographic analysis. The author dissects the shoe and all that surrounds it: from its history to painting and literature. After this book, it will be difficult to publish a book with a more complete treatment of the subject. Illustrated with an iconography that is exceptional both for its aestheticism and the pieces chosen, this book is a reference for historians, sociologists and for the fashion victims and designers…

Hieronymus Bosch was painting frightening, yet vaguely likable monsters long before computer games were ever invented, often including a touch of humour. His works are assertive statements about the mental illness that befalls any man who abandons the teachings of Christ. With a life that spanned from 1450 to 1516, Bosch experienced the drama of the highly charged Renaissance and its wars of religion. Medieval tradition and values were crumbling, paving the way to thrust man into a new universe where faith lost some of its power and much of its magic. Bosch set out to warn doubters of the perils awaiting any and all who lost their faith in God. His favourite allegories were heaven, hell, and lust. He believed that everyone had to choose between one of two options: heaven or hell. Bosch brilliantly exploited the symbolism of a wide range of fruits and plants to lend sexual overtones to his themes, which author Virginia Pitts Rembert meticulously deciphers to provide readers with new insight into this fascinating artist and his works.

The Bauhaus movement (meaning the “house of building”) developed in three German cities – it began in Weimar between 1919 and 1925, then continued in Dessau, from 1925 to 1932, and finally ended in 1932-1933 in Berlin. Three leaders presided over the growth of the movement: Walter Gropius, from 1919 to 1928, Hannes Meyer, from 1928 to 1930, and Ludwig Mies van der Rohe, from 1930 to 1933. Founded by Gropius in the rather conservative city of Weimar, the new capital of Germany, which had just been defeated by the other European nations in the First World War, the movement became a flamboyant response to this humiliation. Combining new styles in architecture, design, and painting, the Bauhaus aspired to be an expression of a generational utopia, striving to free artists facing a society that remained conservative in spite of the revolutionary efforts of the post-war period.

Книга, посвященная творчеству популярного у зрителей объединения английских художников («Братство прерафаэлитов»), раскрывает своеобразие их революционного для своего времени творчества, их влияние на европейское и американское искусство.

Выпуск второй альманаха «Литературный оверлок» большей частью состоит из произведений авторов, некогда учившихся в Литературном институте имени А. М. Горького. Здесь и неординарная, изящная проза Александра Решовского. Жесткая, если не жестокая поэзия Николая Столицына. Традиционная любовная лирика Натальи Волковой. Детально выписанные, наполненные иронией и тонким юмором рассказы Тани Тавогрий. Украшением альманаха явилась критическая статья Екатерины Ефимочкиной «Гори, госпожа Бовари».

Герой книги – представитель уникальной театральной династии, заслуженный артист России, актер Новосибирского академического драматического театра «Красный факел» Владимир Лемешонок.

Журнал для тех, кто мечтает окунуться в мир звезд, узнать тайны их прошлого, обсудить наряды и перевоплощения, почувствовать их характер, узнать о переживаниях и проблемах. Никаких «сенсаций» из пресс-релизов и конференций, никаких статичных фото, где звезды позируют, только живые интервью, только случайные эмоциональные кадры.

Журнал, полностью посвященный стилю жизни. Еженедельно на страницах издания все только новое и самое интересное: анонсы ближайших выставок, театральные и кинопремьеры, обзоры бутиков и магазинов, последние коллекции одежды и самая полезная и интересная информация о столичной жизни.

Эта книга о памятнике мирового значения в Крыму – античном городе Херсонесе (на окраине современного Севастополя). Херсонес Таврический уникален: на маленькой (всего 40 га) территории бывшего города, в его руинах и в земле оказались законсервированы свидетельства двух эпох, двух мировых цивилизаций – античной и византийской.

Это книга о книгах для вдумчивых читателей любого возраста и пола. Как устроены книги? Что на самом деле автор хочет сказать читателю? Кто прав декабристы или их палачи? Какую религию создал Пелевин? Дети добры или злы? Какая дорога ведёт к храму? Кем лучше быть: мошенником или экспертом? Любите ли вы зефир в шоколаде? Где же наш дом? Природа – это храм или мастерская? Куда указывает Омская стрелка? Правда или истина? Как покоряли Сибирь?