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К. Маковский. 1884

Giorgio de Chirico

Богородица, ты знаешь, о чем прошу.

Drunkenness has never looked as beautiful as it does in Titian's painting of a wine-fuelled party in the open air. These drinkers conduct their antics with a magical grace. The dancers do not fall over. The wine jug balanced on a man's hand does not go flying. Wine has freed everyone from inhibition and made them amorous. In vino veritas. These drinkers do not yell at each other, vomit or pass out. Instead they all seem to be falling in love. One woman lies in a naked ecstasy as wine unleashes her passion.

theguardian

Dr Jessica Frazier, of the Oxford Centre for Hindu Studies, told the BBC swastikas had been found in China, Japan, Mongolia, the ancient Mediterranean, among native Americans and, of course, the British Isles.

"Its (the swastika's) original meaning is an enigma," she said. "Perhaps it is just an elegant geometry which has an instinctive appeal across the world."

The earliest swastikas might have had some religious or astronomical meaning. Then again, they might not.
The swastika always faces right. The left hand symbol is properly called the 'Swavastika', says Dr Quinn.

london december 13 1304

Swastikas and swavastikas in British Museum.

Things started when, despondently, she was turning 75: Lambin decided to shake things up with one small tattoo; a peace daisy. Soon afterward, she got a baby dolphin, but then thought that it should have a mother, so the third tattoo happened. Then she decided to get a little pink rabbit in memory of her beloved husband who, before he died in January 1996, used to call her “Bunny.”

Давид Бурлюк. Приход весны и лета.

бурлюк любовь

Любовь и мир.

И.Е. Репин. Портрет С.М. Драгомировой. 1889 год. Холст, масло. Русский музей, Петербург. Софья Михайловна Драгомирова (1871-1953) — дочь генерала М.И. Драгомирова, командующего войсками Киевского военного округа. Ее портреты в украинском костюме были одновременно выполнены И.Е. Репиным и В.А. Серовым.

Серов В.А. Портрет С.М.Драгомировой 1889
Портрет написан В.А.Серовым одновременно с И.Е.Репиным (портрет Репина в собрании ГРМ) в мастерской Репина в Петербурге. В связи с внезапным отъездом в Москву, Серов прервал работу, и портрет остался незавершённым. И.Е.Репин подарил его Драгомировой, о чём сообщил Серову в письме от 16 января 1890 года: «...твой этюд я подарил им, так как мне показалось, что ты этого желал в глубине души. Только ты извини, Антон, я немножко рукав на локте, грудь и правый рукав и руку правую, левая прекрасна была, потрогал, в том же роде как было — не испортил. Она очень довольна...» (Репин, Художественное наследство, т. 1.М., 1948, с. 196).

Близкие звали Валентина Серова Антоном. Почему, интересно?

Ольга Делла-Вос-Кардовская. Маленькая женщина (Изображена дочь художницы), 1910

Мне на ваших картинах ярких
Так таинственно слышна
Царскосельских столетних парков
Убаюкивающая тишина.

Разве можно желать чужого,
Разве можно жить не своим…
Но и краски ведь тоже слово,
И узоры линий — ритм.

Н. Гумилев

Helmut Newton – Office Love

1977
The art of Helmut Newton is at once heightened and theatrical, sophisticated and witty – and yet, at its heart, profoundly serious. For Newton is not kidding about sex. He wants his photographs to arouse, and they do, because he so boldly explores his longings. But what makes his art so sexy is his obvious belief that sex is the most important thing in the world, a matter of life and death.

For two decades, Martin Lang enjoyed what he thought was a Marc Chagall masterpiece hanging in the hallway of his family home. Mr Lang, a no-nonsense Yorkshire businessman, had bought the painting in 1992 for £100,000 and while he adored the work, he also expected to see a return one day on his investment.

This week, however, the painting — to Mr Lang’s horror — will be burnt in Paris in the presence of a French magistrate. The Chagall Committee, a group of experts including two of the artist’s granddaughters, and which is the sole authenticator of his work, has declared the painting a fake and ordered its destruction to deter other forgers.

Ох уж эти французы, мало им Жанны д’Арк.

Two versions of same subject reunited for first time since 1947 and will be on show for three months.
The reuniting is an undeniably special moment. One is owned by the National Gallery and the other by the Van Gogh Museum in Amsterdam and both are among the most popular paintings they own.
Visitors entering Room 46 of the National Gallery will see the London Sunflowers, one of four that Van Gogh made to decorate a bedroom in his "yellow house" in Arles for his visiting friend Paul Gauguin. On its right is one of the three copies that Van Gogh later made.
The differences are both subtle and obvious: the copy is a bit taller for example, because Van Gogh wanted more of a margin at the top. His Vincent signatures are in slightly different places on the pots, to maybe give a better balance, and the colours in the Amsterdam version are more stylised – botanically incorrect but perhaps more interesting.
The series come from Van Gogh's most infamous year – it was 1888 that he had his nervous breakdown, cut off part of his ear and went into an asylum.

В январе 1914 года возвратилась в Лувр Мона Лиза, похищенная в августе 1911-го и неизвестно где и с кем болтавшаяся все это время. Темная история. Настоящая ли Лиза висит в Париже?

At first nobody wanted them. Van Gogh painted four images of sunflowers in a pot, and then three copies that depart in many details from the originals.
Having been invited to show work alongside Les Vingt, an avant-garde group of 20 artists in Brussels, in January 1890, Van Gogh consulted his brother Theo as to what he should send. Theo recommended the sunflowers and explained why. "I've put one of the sunflowers on the mantelpiece in our dining room. It has the effect of a piece of fabric embroidered with satin and gold, it's magnificent." But such richness and beauty, achieved by means of Van Gogh's stark simplicity and strong colour, was not apparent to others. The artist Henry de Groux threatened to remove his own work from the 1890 exhibition if he found it in the same room as "the laughable pot of sunflowers by Mr Vincent".

In Vincent's mind, nature and art were companions. "Always continue walking a lot and loving nature," he told Theo, "for that's the real way to learn to understand art better and better. Painters understand nature and love it, and teach us to see."

But it was in Arles that the great sunflower period began. And it coincided with his move into a small yellow house on the edge of the square. He got the landlord to repaint it so that the outside walls became the colour of fresh butter and its shutters a rather hideous green. Inside, the red-brick floors were offset by white-washed walls. It was five months before he could move in, but it inspired his great plan. He told Emile Bernard: "I'm thinking of decorating my studio with half a dozen paintings of sunflowers."

What pushed him into action was the imminent arrival of Paul Gauguin. Wanting to impress his friend with new work, he started painting on 20 August 1888. He sustained himself with coffee and alcohol, and within six days had more or less completed four pieces. One of these was destroyed in the second world war and another, in a private collection, is not well known to the wider public. The other two are those that will hang together for a while in London, and they are among the most famous paintings in the world.

БРИТАНСКИЙ МУЗЕЙ

БРИТАНСКИЙ МУЗЕЙ

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Entries tagged with art

украинка

le chant d'amour

Павел Филонов. Пасха

благовещение

drinkers in art

swastikas

used to call her “Bunny”

К. Коровин. Гурзуф

К. Коровин. Гурзуф

весна и мир

два портрета

еще до войны

sexiest works of art

опять костры инквизиции

two together

зима Жуковского

возвращение

the laughable pot of sunflowers

из непонятого

красотки