Egon Schiele’s work is so distinctive that it resists categorisation. Admitted to the Vienna Academy of Fine Arts at just sixteen, he was an extraordinarily precocious artist, whose consummate skill in the manipulation of line, above all, lent a taut expressivity to all his work. Profoundly convinced of his own significance as an artist, Schiele achieved more in his abruptly curtailed youth than many other artists achieved in a full lifetime. His roots were in the Jugendstil of the Viennese Secession movement. Like a whole generation, he came under the overwhelming influence of Vienna’s most charismatic and celebrated artist, Gustav Klimt. In turn, Klimt recognised Schiele’s outstanding talent and supported the young artist, who within just a couple of years, was already breaking away from his mentor’s decorative sensuality. Beginning with an intense period of creativity around 1910, Schiele embarked on an unflinching exposé of the human form – not the least his own – so penetrating that it is clear he was examining an anatomy more psychological, spiritual and emotional than physical. He painted many townscapes, landscapes, formal portraits and allegorical subjects, but it was his extremely candid works on paper, which are sometimes overtly erotic, together with his penchant for using under-age models that made Schiele vulnerable to censorious morality. In 1912, he was imprisoned on suspicion of a series of offences including kidnapping, rape and public immorality. The most serious charges (all but that of public immorality) were dropped, but Schiele spent around three despairing weeks in prison. Expressionist circles in Germany gave a lukewarm reception to Schiele’s work. His compatriot, Kokoschka, fared much better there. While he admired the Munich artists of Der Blaue Reiter, for example, they rebuffed him. Later, during the First World War, his work became better known and in 1916 he was featured in an issue of the left-wing, Berlin-based Expressionist magazine Die Aktion. Schiele was an acquired taste. From an early stage he was regarded as a genius. This won him the support of a small group of long-suffering collectors and admirers but, nonetheless, for several years of his life his finances were precarious. He was often in debt and sometimes he was forced to use cheap materials, painting on brown wrapping paper or cardboard instead of artists’ paper or canvas. It was only in 1918 that he enjoyed his first substantial public success in Vienna. Tragically, a short time later, he and his wife Edith were struck down by the massive influenza epidemic of 1918 that had just killed Klimt and millions of other victims, and they died within days of one another. Schiele was just twenty-eight years old.
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.
Общий размер: евро Размер покрывала: 208х240 см Размер наволочек: Без наволочек Материал: Хлопковый сатин Длина ворса: Отсутствует Состав: 100% Хлопок Отделка: Без отделки Особенность: Для пикника Производитель: Ганг Страна бренда: Индия
Egon Schiele lived in Vienna during its last years as capital of the declining Habsburg Empire. Rejected by his family and hounded by society for his interest in young girls, he expressed through his art a deep and bewildering loneliness and an obsession with sexuality, death and decay. Schiele died at the age of twenty-eight, yet he left behind him a body of work that sustains a huge public reputation and myth. This profusely illustrated book delves into both the controversial sexual themes and neglected aspects of Schieles art, notably his formal experiments and his later expressionist portraits and allegorical paintings works that reveal much about the importance of his short career.
Featuring over 140 masterpieces, this new book draws on the unsurpassed Schiele collection of Vienna's Leopold Museum.This volume gathers some 140 paintings, watercolors and drawings by Egon Schiele from the Leopold Museum in Vienna, which famously possesses the world’s most comprehensive and eminent collection of works by this most beloved of modern artists. It covers all periods of Schiele’s oeuvre, with examples of his earliest creations, his renowned Expressionist period and the work created shortly before his untimely death.Among the classic Schiele paintings housed in the collection are the “Seated Male Nude” (a self-portrait) of 1910 and “The Hermits” of 1912 (probably depicting Schiele with Gustav Klimt). Cityscapes constitute another emphasis in Schiele’s oeuvre as well as landscapes including “Houses by the Sea.”Throughout the book, numerous full-page illustrations afford exceptional insight into Schiele’s genius for line and color. Essays by Elisabeth Leopold, Rudolf Leopold, Franz Smola and Birgit Summerauer outline the milieu and career of this provocative artist but also highlight Schiele’s place among the great masters of the 20th century.The epitome of Viennese modernism, Egon Schiele (1890–1918) developed an anti-academic style of rendering figures, which are only rarely shown head-on or in full length, appearing contorted by their compositional arrangement. After brief service in the army during World War 1, Schiele died of a pandemic influenza on 31 October 1918.
В этой книге собрано всё, что тебе нужно для работы с электрической красной рудой. Руководство посвятит тебя в таинство работы с красным камнем от начала до конца, от добычи и простеньких схем до сложных многоуровневых механизмов и ловушек для монстров. Также здесь приведены наиболее выдающиеся творения мастеров красной руды в Minecraft - дух захватывает!
Тарелка Стефани ред, выполненная из благородного фарфора, - не просто функциональный предмет, но и стильный элемент декора в сервировке как повседневного, так и праздничного стола. Изделие станет прекрасным вариантом для подачи различных нарезок (сырных, мясных), фруктов и овощей, а также десертов. Тарелка легко очищается от загрязнений, однако от мытья в посудомоечной машине лучше воздержаться. Изделие станет отличным подарком для каждой современной хозяйки.
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Вид изделия: Набор бокалов для коктейлей Размер: 18 см - 4 шт Материал: Стекло Объем 340 мл Производитель: Bohemia Crystal Страна бренда: Чехия