1000 Drawings of Genius. Victoria Charles
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Название: 1000 Drawings of Genius
Автор: Victoria Charles
Издательство: Parkstone International Publishing
Жанр: Энциклопедии
Серия: The Book
isbn: 978-1-78310-949-4, 978-1-78310-457-4
isbn:
Michelangelo compels us to enlarge our conception of what is beautiful. To the Greeks it was physical perfection; but Michelangelo cared little for physical beauty, except in a few instances, such as his painting of Adam on the Sistine ceiling, and his sculptures of the Pietà. Though a master of anatomy and of the laws of composition, he dared to disregard both if it were necessary to express his concept: to exaggerate the muscles of his figures, and even put them in positions the human body could not naturally assume. In his later painting, The Last Judgment, on the end wall of the Sistine, he poured out his soul like a torrent. Michelangelo was the first to make the human form express a variety of emotions. In his hands emotion became an instrument upon which he played, extracting themes and harmonies of infinite variety. His figures carry our imagination far beyond the personal meaning of the names attached to them.
164. Raphael (Raffaello Sanzio), 1483–1520, Italian, Leda and the Swan, c. 1507. Pen and ink over black chalk on paper, 31 × 19.2 cm. Royal Collection Trust, London. High Renaissance.
165. Titian (Tiziano Vecellio, attributed to), 1489/1490-1576, Italian, Saint Jerome in the Desert, 1509. Pen and grey ink, 13.6 × 16.7 cm. Galleria degli Uffizi, Florence. High Renaissance.
166. Lucas Cranach the Elder, 1472–1553, German, Christ and the Adultress, 1509. Brown ink and brown wash, 29.9 × 19.6 cm. Herzog Anton Ulrich-Museum, Kunstmuseum des Landes Niedersachsen, Brunswick (Lower Saxony). Northern Renaissance.
LUCAS CRANACH THE ELDER
(Kronach, 1472 – Weimar, 1553)
Lucas Cranach was one of the greatest artists of the Renaissance, as shown by the diversity of his artistic interests as well as his awareness of the social and political events of his time. He developed a number of painting techniques which were afterwards used by several generations of artists. His somewhat mannered style and splendid palette are easily recognised in numerous portraits of monarchs, cardinals, courtiers and their ladies, religious reformers, humanists and philosophers. He also painted altarpieces, mythological scenes and allegories, and he is well-known for his hunting scenes. As a gifted draughtsman, he executed numerous engravings on both religious and secular subjects, and as court painter, he was involved in tournaments and masked balls. As a result, he completed a great number of costume designs, armorials, furniture, and parade ground arms. The high point of the German Renaissance is reflected in his achievements.
167. Antonio da Sangallo the Younger, 1484–1546, Italian, The Mausoleum of Theoderic, c. 1506. Pen and ink on paper. Galleria degli Uffizi, Florence. High Renaissance.
168. Fra Bartolomeo (Bartolommeo della Porta), 1473–1517, Italian, Madonna and Child with Saints, 1510–1513. Black chalk, with traces of white chalk, 37.5 × 28.3 cm. J. Paul Getty Museum, Los Angeles. High Renaissance.
169. Mabuse (Jan Gossart), c. 1478–1532, Flemish, Apollo Citharoedus of the Casa Sassi, 1509. Pen and brown ink, over black chalk, 30.8 × 17.7 cm. Gallerie dell’Accademia, Venice. Northern Renaissance.
170. Niccolò dell’ Abate, 1509–1571, Italian, Madonna and Child Enthroned with Saint Basil the Great and Saint John the Baptist and Donor, 1509–1571. Pen and brown ink, brush and brown wash mounted on board, 23.2 × 19.4 cm. The Metropolitan Museum of Art, New York. Mannerism.
171. Amico Aspertini, c. 1474–1552, Italian, Hercules and the Lernaean Hydra, date unknown. Pen, ink and wash. Galleria degli Uffizi, Florence. Mannerism.
172. Baldassare Peruzzi, 1481–1536, Italian, Interior View of Santo Stefano Rotondo, date unknown. Pen and brown wash on white paper. Galleria degli Uffizi, Florence. High Renaissance.
173. Baldassare Peruzzi, 1481–1536 Italian, The Baths of Diocletian, date unknown. Pen, ink and wash on paper. Galleria degli Uffizi, Florence. High Renaissance.
174. Raphael (Raffaello Sanzio), 1483–1520, Italian, A Soldier Before the Chapel of St. Peter, date unknown. Pen, ink and wash on paper. Galleria degli Uffizi, Florence. High Renaissance.
175. Raphael (Raffaello Sanzio), 1483–1520, Italian, Interior View of the Pantheon, c. 1510. Pen and ink on paper, 22 × 40.5 cm. Galleria degli Uffizi, Florence. High Renaissance.
176. Baldassare Peruzzi, 1481–1536, Italian, Theatrical Perspective with Symbolic Monuments of Rome, date unknown.Pen, ink and wash on paper. Galleria degli Uffizi, Florence. High Renaissance.
177. Leonardo da Vinci, 1452–1519, Italian, Self-Portrait, c. 1512. Red chalk on paper, 33.3 × 21.3 cm. Biblioteca Reale, Turin. High Renaissance.
LEONARDO DA VINCI
(Vinci, 1452 – Le Clos-Lucé, 1519)
Leonardo’s early life was spent in Florence, his maturity in Milan, and the last three years of his life in France. Leonardo’s teacher was Verrocchio. First he was a goldsmith, then a painter and sculptor: as a painter, representative of the very scientific school of draughtsmanship, but more famous as a sculptor, being the creator of the Colleoni statue at Venice, Leonardo was a man of striking physical attractiveness, great charm of manner and conversation, and mental accomplishment. He was well grounded in the sciences and mathematics of the day, as well as a gifted musician. His skill in draughtsmanship was extraordinary; shown by his numerous drawings as well as by his comparatively few paintings. His skill of hand is at the service of most minute observation and analytical research into the character and structure of form.
Leonardo is the first in date of the great men who had the desire to create in a picture a kind of mystic unity brought about by the fusion of matter and spirit. Now that the Primitives had concluded their experiments, ceaselessly pursued during two centuries, by the conquest of the methods of painting, he was able to pronounce the words which served as a password to all later artists worthy of the name: painting is a spiritual thing, cosa mentale. He completed Florentine draughtsmanship by applying a sharp subtlety to modelling by light and shade, which his predecessors had used only to give greater precision to their contours. This marvellous draughtsmanship, this modelling and chiaroscuro he used not only to paint the exterior appearance of the body but also, as no one before him had done, to cast over it a reflection of the mystery of the inner life. In the Mona Lisa and his other masterpieces he even used landscape not merely as a more or less picturesque decoration, but as a sort of echo of that interior life and an element of a perfect harmony.
Relying on the still quite novel laws of perspective, this doctor of scholastic СКАЧАТЬ