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Year of Italy in Russia
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"The Lady with the Unicorn" by Rafael represented the Moscow public
19/03/201114: 37 MOSCOW, March 19 - RIA Novosti. The painting "Lady with a Unicorn" (Dama col liocorno, 1504-1506) artist of the Renaissance of Raphael Santi was presented Saturday at the Italian Embassy in Moscow, the launch of the Year in Italy in Russia, a masterpiece were Culture Minister Alexander Avdeev, Minister of Science and Education of Italy Mariyastella Dzhelmini (Mariastella Gelmini) and the Italian Ambassador Antonio Zanardi-Landi (Antonio Zanardi Landi). "Arriving in Moscow," the Lady with a Unicorn "from Rome Galleria Borghese (Galleria Borghese) - an example of what can be done by ambassadors and embassy when the two countries have excellent relations. I know that this is a personal initiative of the Ambassador, which was supported by museums in Italy and leadership of the country, "- said Avdeev. "It's a great gesture of friendship" - he said in Italian. "The Lady with the Unicorn" before March 24 will stay in the mansion Berg in Money Lane, where the embassy is located in Italy, and then move to the Pushkin Museum of Fine and stay there until May 10. Raphael masterpiece opens a whole program monovystavok: in June and July, the embassy will show "Double Portrait" Giorgione of the Roman Palazzo Venezia, in September and October may bring "Medusa's head" Bernini (1630) from the Capitoline Museums, and in December-January show "A young man with a basket of fruit" Caravaggio, again from the Borghese Gallery - the last leaf will also participate in large-scale exhibition, scheduled for December 2011 - February 2012. "In Russia, from Italy expects a lot, and we will try to meet the expectations" - said Dzhelmini, promising that the events related to Italy to continue in Russia and in 2012. "Ozone" painting "The Lady with the Unicorn" written in 1504, when still very young Raphael came to Florence and briefly crossed paths there with Leonardo da Vinci and Michelangelo. "Konencho, he was captured, stunned the Mona Lisa," - noted the director of the Pushkin Museum of Fine Irina Antonova. Art historians have repeatedly compared the two portraits of smiling ladies, however, convinced Antonova, comparisons begin and end on the fact that both heroines are the viewer in a landscape. "The image of Leonardo - an image built on contact with the audience. But Mona Lisa - a psychological attack, a clot of energy, and the title role in this play famous leonardovskoe" Sfumato (reception at the painting, softening the outlines depicted), disturbing the viewer. Rafael holds a strong-willed attack another character: it relies on the plastic power of the image, for it plays an important role color. I call this painting "ozone, oxygen saturation, because of its very lightening tone, which creates an image of purity, innocence, femininity and many other virtues, that there is this woman, "- said the director of the Pushkin Museum. Three in one According to the head of the United museums of Rome (Polo museale di Roma) Rosselli Vaudreuil (Rossella Vodret), the heroine during the creation of Raphael's paintings had to replace several roles, and discover it only during the radiographic study, that "The Lady with the Unicorn" has undergone in 1927, the first time in the history of Italian science. Revealed that the first Raphael wrote the girl with a dog on her lap. "Maybe it was a wedding portrait, which was before the marriage was supposed to send the groom. Dog - a symbol of marital fidelity," - said Vaudreuil. However, the picture was not finished. "Why - we do not know. Maybe the wedding was upset, perhaps, the groom died. Whatever it was, Raphael went back to this thing just a few years later, and then we finished the hands of ladies, who now has embraced a unicorn. Thus, the symbolic meaning the picture changes: the unicorn - a sign of purity and chastity, "- said the head of the United museums. According to her, after several decades, at the end of the XVI century "Lady with a unicorn" became a St. Catherine of Alexandria: the unknown artist covered her shoulders, a cloak and depicted in the background of the wheel, a symbol of martyrdom of the saint. And just in time restoration 1935-36's picture back the previous form. Appeared in parallel assumption is that, "The Lady with the Unicorn" was a portrait of Giulia Farnese, the mistress of Pope Alexander VI Borgia, but later found unsubstantiated conjecture. Vaudreuil noted that "The Lady with the Unicorn" rarely leaves the boundaries of Italy. Preparation of its visit to Moscow lasted for three months: in the beginning has been made air-tight container, which should remain familiar to the climate pattern, then a wooden box of special design, which allows tightly secure container, without giving the board a fragile move even a millimeter. In a specially equipped car masterpiece of Raphael taken to the Rome airport, from where he left out the government, flew to Moscow. http://www.rian.ru/culture/20110319/355639249.html |
Raphael Sanzio "Lady with a Unicorn." Help
21/03/201112: 24 Work by Raphael Sanzio The Lady with the Unicorn "was brought to Moscow. Before March 24, she will stay in the mansion Berg in Money Lane, where the embassy is located in Italy, and then move to the Pushkin Museum of Fine and stay there until May 10. The famous painting by Raphael Sanzio of the Renaissance, "The Lady with the Unicorn" (Dama col liocorno) was written by the artist in 1504 during his stay in Florence. It is believed that Raphael created this portrait is not without influence, "Mona Lisa" by Leonardo da Vinci, who in those years also worked in Florence. However, according to art historians, "The Lady with the Unicorn" recalls some of Gioconda only compositional tricks. In this portrait, painted on canvas oil painting (size painting 65 x 51) shows a young woman who is holding a tiny baby unicorn. Stylized unicorn in the painting by Raphael is more like a cute little animal home. According to legend, the same unicorn - a mythical beast with the body of a bull, a horse or a goat and a long straight horn on his forehead. According to legend, a ferocious unicorn, a symbol of purity and virginity, can tame just an innocent girl. I picture a very difficult destiny. In the past, it was badly damaged. Restoration of the painting will return a masterpiece of its original appearance. Only in the twentieth century restorers freed painting from the later dopisok and brought it to its original appearance. In the 1930's. were found in subsequent records, which opened the complex process of distortion created by Rafael original image. Relatively recently, was withdrawn the question of authorship. In the nineteenth century, when the portrait was in an art collection of the Villa Borghese, its author was regarded as Perugino. And only in 1928, the authoritative historian of art Robert Long attributed the portrait as a work by Raphael Sanzio, referring to himself beginning of the sixteenth century. Hunch confirmed radiographic study conducted in 1927, the first time in the history of Italian science. They found several layers of paintings and many curious details. It turned out that at first it was the "Lady with the Dog," and then on top of the dog appeared unicorn. Several times copied and hand the ladies. However, the picture was not finished. Raphael returned to this thing just a few years later, and then we finished the hands of ladies, who now has embraced a unicorn. Thus, the symbolic meaning of the picture changes: the unicorn - a sign of purity and chastity. At the end of the XVI century "Lady with a unicorn" became a St. Catherine of Alexandria: the unknown artist covered her shoulders, a cloak and depicted in the background of the wheel, a symbol of martyrdom of the saint. And just in time restoration of 1935-1936. picture back the previous form. Subsequently, some scholars have suggested that "The Lady with the Unicorn" is a portrait of Giulia Farnese (Giulia Farnese) - mistress of Pope Alexander VI (Rodrigo Borgia), representatives of the Farnese dynasty, but later found unsubstantiated conjecture. In the early twenty-first century re-emerged controversy regarding authorship of Raphael. Doubt on this occasion expressed his well-known art critic and chairman of the Scientific Committee of the picture Professor Pier-Luigi De eyelids that did not convince the analysis of the style of a portrait, made after the restoration. However, the results of numerous examinations proved that "The Lady with the Unicorn" is written by Raphael, as evidenced by the specific details peculiar artistic style of this master. The painting "Lady with the Unicorn" is kept in Rome's Borghese Gallery (Galleria Borghese) and leaves the museum is extremely rare. Material is based on open sources of information http://www.rian.ru/spravka/20110321/356218874.html |
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"Thunderstorm" by Giorgione in Venice reached the Hermitage
05/07/201120: 53 S. PETERSBURG, July 5 - RIA Novosti. The exhibition of one painting in the Hermitage, a masterpiece of Renaissance - "Killer" painted by Giorgio de Castelfranco, opened at the Apollo Hall of the Winter Palace. "This wonderful painting is only the second time leaving Italy, to be exhibited in St. Petersburg. Cultural Capital of Russia would enrich his story on this remarkable event," - said Riccardo Villari, Deputy Minister of Cultural Heritage of Italy. Earlier, the "Storm" were taken from the Venetian walls of the Galleria dell'Accademia only once - in London in 1930. Deputy Culture Minister Andrei Gagarin said that this event was made possible by cross-year Russia - Italy. "Arriving in St. Petersburg this masterpiece shows the greatest trust that exists between the peoples of Russia and Italy" - he said, adding that in the northern capital long walks joke "in St. Petersburg in July, is expected to" Thunderstorm ". Irina Artemyev, curator of the Hermitage Museum, said that Giorgione, despite its status as one of the founding fathers "of the High Renaissance," is still poorly known and enigmatic artist. So, his full name, Giorgio di Giovanni Gasparini da Castelfranco, only became known in the past year. Itself "Thunderstorm" and her story also remains for critics disputed. Not known the exact date of writing work, it ceased to be regarded as an illustration of the vicissitudes of the artist's life only recently. Heroes of the picture - a woman breastfeeding a baby and a young man in a jacket - the same is often seen as biblical characters as the mythological characters, or as allegories. "Cross-year Russia and Italy in particular, an exhibition of" Thunderstorm ", I want to count only the beginning of cultural cooperation between our countries" - said Giovanna Damiani, Head of the Special Department for protection of objects of artistic, historical and heritage etnoantropologicheskogo. Indeed, the cooperation will continue in September in the Academy Gallery in Venice, an exhibition which will be presented two works by Lorenzo Lotto of the Hermitage: "Family Portrait" and "Madonna delle Grazie". Previously, they did not leave the walls of the museum. The Hermitage in November will bring "The Annunciation" by Carlo Crivelli, here an exhibition "Italian paintings of the XIX Century" and in December, will exhibit the ancient frescoes and sculptures of "Antiquities of Herculaneum". "Storm" by Giorgione, can be viewed on Aug. 7. http://www.ria.ru/culture/20110705/397820001.html |
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Lotto, Lorenzo. Oil on canvas. 96x116 cm Italy . 1523/1524 gg. Admission : between 1773 and 1785 . |
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It would seem that all the work of famous artists of the past studied the length and breadth. But these days happens to discover the unknown masterpieces of famous artists. Art historian, an expert on Italian art Irina Artemiev has received a grant Vladimir Potanin Foundation for the attribution of paintings of famous Italian master Lorenzo Lotto "Madonna delle Grazie". This artist may be called the most extravagant and inimitable genius of Italian Renaissance art, he went to the unbeaten path, regardless of fashion trends and the whims of customers. The Hermitage has several works by Lorenzo Lotto, which reflect the different stages of the artist, but works relating to the last period of life of the master, was not. Seeing the painting depicting the Madonna and Child that is listed in the inventory of the Hermitage as the work of an unknown Italian artist of the XVI century, Irina Artemyeva thought it was very similar to the late Lorenzo Lotto. But how does it install? For information about the origin of the paintings were pretty sparse: a 1920 it was nationalized from private collection in St. Petersburg, came into the office and taken out antiques at auction in Germany. But there now is not purchased, and in 1933 she returned to Russia and was transferred to the Hermitage. It remained to seek documentary evidence of the life of Lorenzo Lotto, which would point to pictures belonging to this wizard. And such evidence was found in the detected back in 1892 the book of accounts of the artist, which he carefully wrote down all your income and expenses in recent years. The book discusses two "Madonna", to this day not associated with any of the known works of the master. In particular, about one of them in January 1542 Lotto wrote: "... a picture of the Madonna and the three angels, which Messer Mario wished to see completed on the day of vows as a nun Lucrezia - 12 ducats." - He wrote repeatedly about the Madonna with the three angels, and we were no angels, - says Irina Artemiev. - And then I thought it was such a dark background for a picture of the time uncharacteristic, it is too discordant with the bright, strong light, the Madonna and Child. And carried the picture on the X-ray. X-ray for some reason could not have done a long time, I was nervous, finally, she called and asked, "Well, is there anything else?" - "There's an angel." - "Only one?" - "How much do you want?" - "I've got to make it three." - "Three is." I was jumping for joy all day long! We will have an infrared imaging, which behind Madonna's perfectly readable figures of three angels. Next restorer Sergey Kiselev successfully cleared the painting from the late pollution, and all the richness of color were the angels world. At the World Congress in Italy, dedicated to the 450th anniversary of the death of Lorenzo Lotto, Irina Artemyev gave a presentation, which made a sensation. The researchers of the Italian Renaissance confirmed with absolute certainty that this was the "Madonna delle Grazie", written by Lorenzo Lotto in 1542. After a temporary exhibition in the Apollo Hall, marking the traditional Days of December's Hermitage, the "Madonna delle Grazie" will take its place in the permanent exhibition of Venetian Renaissance painting. http://www.interros.ru/050054052048124053056054056/ |
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Respect a true master of his craft ! |
Carlo Crivelli "The Annunciation with St. Emigdom"
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Crivelli, Carlo (Crivelli, Carlo) (between 1430 and 1435 - ca. 1495), Italian painter, representative of the Venetian school. The life Crivelli, little is known reliably. Perhaps he was born in Venice. The earliest extant dated works Crivelli - polyptych made it to the church of San Silvestro in the town of Fermanagh in the Province of Massa Marche (completed in 1468). In 1490 Prince Ferdinand of Capua granted him the title of nobility, probably not for the artistic achievements and for his political beliefs. At that time Crivelli was living in Ascoli Piceno. Like his contemporary, the Venetian Giovanni Bellini, Crivelli experienced in his work a strong influence of the Padua school, whose leading exponents were Skvarchone Francesco and Andrea Mantegna, as well as some other artists such as Rogier van der Weyden, Gentile da Fabriano and Antonello da Messina . Significant difference between the style of Bellini and Crivelli explained partly by the fact that the latter adopted many things with Antonio Vivarini. For Crivelli painting, as well as for paintings Vivarini, characterized by a love for decorative effects and acute linearity. Using illyuzionisticheski techniques also may be a consequence of the influence Vivarini. Among the most famous paintings Crivelli The Annunciation (1486, London, National Gallery), Crucifixion (c. 1490, Milan, Brera Gallery) and Madonna with a candle (1492 , ibid.) For works of the master characteristic ornamentation, the attention to detail, accuracy and rigidity in the interpretation of form and expression, which is close in spirit to the late Gothic. Whipper BR Italian Renaissance. XIII-XVI Century, Vols. 1-2. M., 1977 |
Irina Antonova, the sculpture "Head of Medusa"
Irina Antonova: «The museum is staying very rare for us to work Lorenzo Bernini" Head of Medusa. " For many reasons, the sculptures in this museum shows far less than painting, it is primarily due to the difficulties of transportation.
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Добавлено через 34 минуты Giovanni Lorenzo Bernini. "Head of Medusa." From the collection of the Capitoline Museums (Rome, Italy) Pushkin Museum. AS Pushkin's masterpiece continues to show of Italian art in the Year of Italy in Russia. Following the works of the Renaissance - the painting "Lady with the Unicorn" by Raphael Sanzio of meeting the Galleria Borghese and the painting "Pallas and the Centaur" by Sandro Botticelli in the Uffizi Gallery - the museum has one of the jewels of the Italian Baroque - Giovanni Lorenzo Bernini sculpture "Head of Medusa" in the Capitoline Museums (Rome). Giovanni Lorenzo Bernini (1598 - 1680) - one of the greatest geniuses of the XVII century. The sculptor, creator of the urban ensembles, stage designer, but first and foremost, an architect. None of the artists are not affected to such an extent on the shape of Rome, as was done by Bernini: he created in front of the Cathedral of St. Peter's vast area with a colonnade, such "open arms" and numerous works that adorn the interior of the basilica, Palazzo Barberini, the church of Sant 'Andrea al Quirinale, the Fountain of Triton and Fountain of the Four Rivers in the famous Piazza Navona. And these are just some of the most famous of his creations. Glory to the master was so loud that in 1665, Louis XIV invited him to Paris for the Louvre palace adjustment.
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Giovanni Lorenzo Bernini. "Head of Medusa." From the collection of the Capitoline Museums (Rome, Italy)
Pushkin Museum. AS Pushkin's masterpiece continues to show of Italian art in the Year of Italy in Russia. Following the works of the Renaissance - the painting "Lady with the Unicorn" by Raphael Sanzio of meeting the Galleria Borghese and the painting "Pallas and the Centaur" by Sandro Botticelli in the Uffizi Gallery - the museum has one of the jewels of the Italian Baroque - Giovanni Lorenzo Bernini sculpture "Head of Medusa" in the Capitoline Museums (Rome). Giovanni Lorenzo Bernini (1598 - 1680) - one of the greatest geniuses of the XVII century. The sculptor, creator of the urban ensembles, stage designer, but first and foremost, an architect. None of the artists are not affected to such an extent on the shape of Rome, as was done by Bernini: he created in front of the Cathedral of St. Peter's vast area with a colonnade, such "open arms" and numerous works that adorn the interior of the basilica, Palazzo Barberini, the church of Sant 'Andrea al Quirinale, the Fountain of Triton and Fountain of the Four Rivers in the famous Piazza Navona. And these are just some of the most famous of his creations. Glory to the master was so loud that in 1665, Louis XIV invited him to Paris for the Louvre palace adjustment.
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Rafael "The Lady with the Unicorn"
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Giorgione's "The Storm"
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season, "Thunder" at the Hermitage Elena Verbina The exhibition of one painting One of the most famous works of the High Renaissance, "The Storm» (La Tempesta) Giorgio Barbarella da Castelfranco, Giorgione, or from the collection of the gallery of the Academy of Venice left Italy only once. In the 30 years of "Storm" were taken to an exhibition in London. In continuation of the Year of Italy in Russia "The Storm" brought to the Winter Palace. Family of Giorgione in the State Hermitage Museum has three pieces. The most important one - "Judith", ranked in the imperial collection thanks to the efforts of the philosopher Diderot, as well as "The Adoration of the baby" and "Madonna and Child in a Landscape." Artistic merits of "Killer" critics of different eras valued to varying degrees, but the mystery of "The Storm" gives perhaps the only mystery "Mona Lisa". Like the Mona Lisa and her "Da Vinci Code" is a "Killer" has its own "code of Giorgione" - Pulp Fiction about the stolen paintings, and even its filming. But before you get in this century, "the boulevard" great Giorgione, Titian's teacher, has created many "dzhordzhoneskov" (as Walter Peyter even introduced the concept of "dzhordzhonizma"), and "The Storm" was the object of worship romantics. In the poem "Beppo" Byron mentioned it was her, calling Giorgione "connect with the beauty of truth": In the palace there is Manfrini His creation: Pictures of beautiful lot in the hall one But no equal in strength of inspiration. I'm not afraid to get carried away praising, I am sure you have the same opinion. On the canvas - an artist, son, wife, And in it she embodied love. Indeed, for quite some time now been taken for a family portrait by Giorgione - with a light hand the Swiss historian Jacob Burckhardt, who called her in 1885, "Family of Giorgione." Written around 1503, "The Storm" gives viewers a dozen interpretations of the story. Giorgione did not give the names of his picture. And even in 1530 it was known in the collection of Venetian collector Gabriele Vendramin as "landscape on canvas with the storm, a gypsy and a soldier." All true. The canvas depicts a rural landscape with a flash of lightning over the city walls and a grove in the distance, in the foreground on the left - a man with a spear or a staff (whether soldier, or shepherd), right across the creek - a nude woman with a baby. Both characters are in the picture as if by themselves, but the central event of this landscape is a flash of lightning, an approaching storm. Paul Muratov in the "Images of Italy" writes: "The mystery of the story" The Storm ", the strangeness of its shapes, without any connection to each other, are generated, most likely, this hopeless meditation Giorgione, hesitated at the turn of two epochs, for a variety of zaglyadevshegosya spectacle of the world and listens to the voices of my soul confused. " Speaking about the allegorical meaning of the picture, the researchers suggest that, perhaps, Giorgione painted mythological scenes quiet life of Paris with his wife, the nymph Enon, while above them a storm and not even lived a shepherd Paris, unaware of his royal origin. In the figures on the canvas also suggest Adam and Eve expelled from paradise by an angry lightning Creator, and ruins in a landscape symbolize death as the atonement for original sin. Other researchers believe that the artist painted an allegory, where the soldier is the personification of force, and lactating women - Grace. It is known also that the initial figure of Giorgione portrayed two women breastfeeding mother and a naked woman on the right, lower your legs in the creek - on the left. Arguing about the meaning of "Storm", we must remember that the landscape here - the protagonist, where human figures - aids for the transmission of natural conditions. It is believed that this small canvas of European painting began in a purely secular trend, as the landscape of mood. In line for the film particularly relevant version of that shepherd who get lost in a dark storm, do not know about the woman on the other side as long as the vivid flash of lightning lit up not everything. With its light could be seen all the figures, the shepherd would take his vision opened as a vision of the Madonna and Child, and Giorgione wrote this very moment all the clarifying light moment for transparency, for which again followed by darkness and concealment. Indeed, if the picture of in the form of a triptych, it appears that a central place in it belongs to just a natural disaster - a mighty strength, not amenable to human will. It seems that the painter is not so much the plot was taken aback by how much poetry of the landscape, sending all the faces of oncoming waves in nature. And then, as he wrote the art historian Michael Alpatov, "meaning the picture grows up to values of the symbol of nature in an alarming moment." After Giorgione Venetian Renaissance was another, as the lagoon in a storm, came from the shores of sacred art for the unknown shores of art aimless contemplative, his only employee laws. In memory of this visual revolution in 2010, the 500th anniversary of the death of Giorgione in Italy was minted a commemorative silver coin worth 10 euros. The obverse of the coin - a portrait of the artist, adorns the reverse of "The Storm". The picture will stay at the Hermitage until August 7. On a return visit to the gallery of the Academy in September, will arrive two paintings of the XVI century Venetian painter Lorenzo Lotto "Family Portrait" and "Madonna delle Grazie" ("Madonna of grace"), attributed in 2007, researcher Irene Artemieva Hermitage. http://www.odnako.org/magazine/material/show_11908/ The works of Giorgione, from the State Hermitage Museum (St. Petersburg): 1. Madonna and Child in a Landscape Oil on canvas. 44x36.5 cm Italy. About 1503 source income to the Museum: A collection of Crichton St. - Petersburg. 1817 2. Adoration of the infant Oil on canvas. 46x39 cm, Italy. Around 1506 the museum received Source: Collected Crozat, Paris. 1772 3. Judith Oil on canvas. 144x68 cm, Italy. Source of revenue in 1504 Museum: Collection of Baron de Thiers LA Crozat, Paris. 1772 |
Tyutchev,
A painting by Sandro Botticelli, "Pallas and the Centaur"? It is now exhibited in pushkinke. |
duplicates topic Antonello da Messina in the subject - the year of Italy in Russia
Antonello da Messina. Masterpieces from Sicily. The exhibition at the Tretyakov Gallery (THG, 2011)
Ministry of Culture|The State Tretyakov Gallery|Italian Embassy in Russia|Region Sicily | Regional Asessorat on cultural heritage of Sicily Antonello da Messina Masterpieces from Sicily The exhibition is open from September 10 to November 20, 2011 Address: Moscow, Lavrushinsky Lane, 10, the State Tretyakov Gallery, Halls № 46-48 Antonello da Messina (ok.1425/1430-1479) - a symbolic figure in the art of the early Renaissance. The Russian museum collections do not have any work of this remarkable Italian Renaissance artist, so even four exhibition of works by Antonello da Messina at the Tretyakov Gallery is an important fact of artistic life and a significant event, the Italian culture and Italian language in Russia. Creativity Antonello da Messina is "the most convincing and organic synthesis of the elements of Italian and Netherlandish art and culture, a synthesis that can be safely attributed to the number of the highest achievements of the Quattrocento" (VN Lazarev). Travel four works by Antonello da Messina from Sicily to Moscow (three of which are exported for the first time outside Italy!) Allows viewers to compare the Russian and Italian cultures, geographically distant, but united by a common artistic memory of the influence of Byzantine art. It was in his early works by Antonello da Messina, who will be represented at the exhibition, one can see signs of common descent with the Byzantine Russian icons XV-XVII centuries. In the study of creativity by Antonello da Messina invariably raises the question of artistic influences from different cultures. In the XV century, the city of Messina, the home of the artist, was at the crossroads of trade routes connecting the eastern Mediterranean from the outskirts of western Europe. Primary education was an artist, probably in his father's workshop, which was a stone carver and jeweler. But the little town that could give a little young artist, in contrast to Naples, the capital of the kingdom and the center of "Mediterranean Revival", a recognized place of distribution of Flemish, Spanish and French paintings. It was in Naples in the period from 1445 to 1455 started this career at the court of Antonello King Alfonso of Aragon (1442-1458), who was a shrewd and cunning politician, seeking to surround his throne halo "enlightened monarch". Thus, Antonello, without leaving the kingdom of Naples, had the opportunity to get acquainted with all the subtleties of painting the Netherlands, which was at a premium at the court. In 1457 or 1460 (there are conflicting documents), the artist returned to Messina, where got his studio and worked on their own. The researchers suggest that Antonello da Messina could at this time to visit Rome. It is known that in the period between 1460 and 1465 the artist worked for years in his native city, which follows from the preserved documents about the orders. Given that all the works of this period have been lost, duplex board, "Madonna and Child blessing and admiration of the Franciscan" with «Ecco Homo» on the back side (wood, tempera. 16h11, 9. Messina, Maria Akashina Regional Museum), presented at the exhibition, is one of the few remaining early works by Antonello da Messina. Researchers have attributed it to the period between 1465 and 1470 years. It is very likely that it was part of a small portable altar. This work was acquired in 2003 in a private German collection and transferred to a regional museum in Messina. Three other boards - with the image sv.Dzherolamo, sv.Gregorio and sv.Agostino (wood, tempera. 39h31, 46.5 x 35, 5, 46.5 x 35, 5. Palermo, Regional Gallery of Palazzo Abatellis) - in 1952 were cleared by restorers from later records. Together with the lost fourth board, they probably made up the top end of the multicast altar - polyptych. Researchers have dated this work in 1473 year. Two years later, Antonello da Messina arrived in Venice, and received his orders say that he was already a recognized artist whose work is appreciated. After becoming acquainted with the works of Andrea Mantegna, Piero della Francesca Antonello artistic language becomes more monumental generalized. On the other hand, it is believed that it was Antonello da Messina was influenced by Northern Italian painters, in particular Giovanni Bellini, demonstrating the possibility of oil equipment in the transmission of light and air and subtle color relationships, which was extremely important for Venetian painting. In September 1476 he returned to Messina, which is no longer leave, until his death in 1479, working on orders. Despite the short life, he was able to absorb and recycle organic most controversial ideological and artistic trends of his time - and the world of "infinitesimals" Netherlanders, calm and monumental language of Piero della Francesca, Mantegna and advanced searches. The exhibition, organized within the Year of bilateral cultural cooperation Russia - ¬ Italy, 2011, prepared by Italian researchers in conjunction with the staff of the Tretyakov Gallery. A small but informative exhibition catalog can serve as a pretext for more advanced multi-faceted and enigmatic personality of the artist. Source: Press Release TG |
Year of Italy in Russia
"Two portraits by Lorenzo Lotto: Febo da Brescia, Laura da Pola." Exhibition at the Pushkin Museum. AS Pushkin (October 2011)
Ministry of Culture, State Museum of Fine Arts, AS Pushkin, the Italian Embassy in the Russian Federation, Pinacoteca Brera (Milan) present the exhibition: Two portraits by Lorenzo Lotto: Febo da Brescia, Laura da Pola. From the collection of Pinakothek Brera (Milan) The exhibition runs from 01 to October 30, 2011 Pushkin Museum. AS Pushkin, Main Building, ul. Volkhonka, 12. Pushkin Museum. AS Pushkin's masterpiece continues to show of Italian art in the Year of Italy in Russia. Following the pictures, "The Lady with the Unicorn" Raphael Santi of the Galleria Borghese (Rome), "Pallas and the Centaur" by Sandro Botticelli in the Uffizi Gallery (Florence) and the sculpture "Head of Medusa" by Giovanni Lorenzo Bernini from the Capitoline Museum (Rome) - the museum is paired portraits of spouses Febo da Brescia and Laura da Pola outstanding artist of the XVI century by Lorenzo Lotto: from the collections of Pinakothek Brera (Milan). Lorenzo Lotto (1480-1556) - one of the greatest Italian painters of Italian Renaissance art. His fate was evolved dramatically. Lotto was born in 1480 in Venice, but was forced to leave the city in a fairly young age. Subsequently, his life, restless and unsettled, was associated with areas of Italy, as Lombardy, Veneto, Mark. Art Lotto, not taken to his native Venice, because it did not try to follow the principles of his Venetian contemporaries, Giorgione and Titian. The artist was faithful only to himself and over the years more and more felt the aloofness of his life from forming in the Venetian tradition of painting. In this drama was one of the geniuses of the XVI century, an epoch, when Venetian painting experienced its "golden age". Attitude by Lorenzo Lotto, devoid of calm clarity, largely determined its special position in the art of his time. His works break the harmony inherent in the Venetian Renaissance, contrasting it to the world of images intended to excite any ¬ action, disturb the soul and excite the mind. A keen sense of dramatic art all mentioned Lotto, his monumental paintings and religious compositions, as well as numerous portraits he created. Portraits Febo da Brescia and Laura da Pola, presented in the Pushkin Museum. AS Pushkin, owned collection of Pinakothek Brera in Milan, one of the largest museums in Italy. It was established in 1809 at the initiative of Napoleon as a training body for the students of the Academy of Fine Arts, where they honed their skills. In 1882, the Pinacoteca was separated from the Academy and converted into an art gallery, which currently features works of masters XV-XX centuries. Creativity Lorenzo Lotto - a unique phenomenon, not only against the background of the Venetian, but the whole of Italian Renaissance art, has accumulated the most important features of the artistic culture of Northern Italy the first half of the sixteenth century. Source: Press Service Pushkin Museum. AS Pushkin |
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The exhibition will be called simply and succinctly "socialist realism ". :)> That painting exhibition socialist era are always held on the "cheers" and cause a genuine interest in Western Europe. GIM , TG , et al ROSIZO present their masterpieces. The exhibition will continue until mid- January 2012. |
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