Monday, April 27, 2009

Online Unblocked Games

Intarsio artistico.


Technology.

http://shursha.com

The paintings are composed of thousands of small pieces of wood (ranging from millimeters to several centimeters) made from "sheets" of wood.

All pieces of wood are selected based on their hue, invoice and structure, so as to reflect the realism of each element of the framework.

A special factor that affects the work and aging, through which one gets the impression that the picture is painted on canvas.

Although these are creations of modern art, the element of 'aging, adds to the picture a unique style and refined, featuring works of art passed.

This inlay technique excludes the use of any machinery - is a 100% manual work, unlike traditional inlay, which allows the use of some mechanical and laser techniques.

The time to create a framework - not less than one year.

You should also consider that each type of wood has its own unique design and color, so it is virtually impossible to make two equal squares.

After this consideration, we can say with confidence that every picture has features that make it unique and incomparable, it is virtually impossible to falsify.

The theme of the picture, you might say, is protected by nature itself.

am art 100% exclusive.

The colors of the pieces of wood that give rise to the picture, are completely natural, due only to physical and chemical characteristics of the wood itself, which depend on the physicochemical nature of the Practice.

For the creation of frameworks is not used any type of paint or stain, non-natural or artificial sources.

's only additional process carried out on the wood, as is done in nature - fire and water in that it uses a technique of burning and marinade.

We would like to draw your attention to one of its most interesting and amazing these pictures - and by changing the viewing angle from where you look at the picture, this shows itself in new ways, like a hologram Thanks to this feature is not there "gets tired" never see it.

All-framed paintings are all different, made specifically for the mono single framework, to conclude the work of art.

Free Watch Online Korean Movies

Artmarquetry-technology.


Technology.

http://shursha.com

Pictures consist of several thousands small in size (millimeter to several centimeters) pieces of veneer.
All wood pieces are selected by tone, texture, finish, so that to reflect the element of picture they lie in most realistically.

Special finish, which also includes aging elements, makes an impression that picture is made on canvas.
Although these are modern artworks, aging element gives pictures an unique style refinement, which is inherent to pieces of art of the past.

The given technique of marquetry excludes any use of mechanisms and is 100 % handwork, unlike craft marquetry where use of mechanical tools and the laser techniques is possible.

The time needed for creating one painting – at least a year.

It is also important that each type of wood possesses its unique print and colour, therefore it is almost impossible to make two identical paintings.
On this basis it can be concluded that each picture is unique and it is impossible to falsify it.
It is almost that the image in the painting is protected by nature.
These are 100 % exclusive subjects of art.

All colours of wood that are used for creating the paintings are natural, they occur due to certain physical and chemical indicators of the specific type of wood and the degree of physical and chemical influence on it.
No dyes or paints, neither natural, nor of an artificial origin are used in the creation process of the paintings.
The only permitted wood exposure degrees are the same, as in nature, - fire and water, i.e., techniques of burning and pickling are used.

We want to draw your attention to one of interesting and amazing features of pictures – depending on the angle you look on the image at, picture reveals itself in a new way, just as holographic one.
Due to this unique property the painting never becomes boring.

All pictures are framed by hand-carved frame, thereby Being complete, ie finished pieces of art.


Friday, April 24, 2009

Scholarships For Costocondritis

Photo-Artmarquetry. Photo-art of marquetry.



artmarquetry,marquetry Dmitry Shursha
Дмитрий Шурша
http://shursha.com

Still-life. Flowers and a bird. A tree - art marquetry. The painting Consists of More Than 2.500 details. 1200х800. 2009. Dmitry Shursha. The price - 150,000 thousand euro.

Still life - flowers and birds. - Wood Inlay art. 1200х800. 2009. Dmitry Shursha. 150.000 euro.

Still Life: Flowers and a bird. Wood - art of marquetry. Pattern consists of more than 2.500 parts. 1200x800. 2009 Dmitry Shursha. In the manufacture are not used paints or dyes, only natural wood color.




Thursday, April 23, 2009

Baixar Gtaivpc_offlineinstaller.zip

On the symbolism of flowers in classical art. (Part 2)

On the symbolism of flowers in classical art.

(Part 2)

site - http://shursha.com

Image collection of flowers as a characteristic feature of the month of April there is a calendar miniatures of the Franco-Flemish Chasovnikov XV century. and the flowers become an attribute of this months, and - increasingly - the spring in the later series of paintings on the theme of "months" or "Four Seasons". One of the most exquisite images of early spring captures in miniature, "April" Limburg brothers in the calendar "Luxury Book of Hours of the Duke Berriyskogo" where ladies gather flowers in a graceful courtier dresses saturated colors on a bright green meadows themselves are like a rare beautiful flowers.

language of symbols Middle Ages spread to all spheres life, including initiating the development of heraldry, which is unthinkable without Knight's everyday life. The most famous heraldic flower - french lily and the Tudor Rose.

Initially, the choice was determined by the religious symbolism of flowers. According to legend, the Frankish king Clovis chose the lily as emblem of purification after the baptism, when converted to Christianity. Fleur-de-lis (its natural prototype is Mechev species - iris) was emblem of Charlemagne and Louis IX the Saint. Internecine strife of Lancaster and York entered the history of England as the Wars of the Roses, and the end of the XIX century. in London the park to save this historic bushes, from which the flowers were torn off, have become emblems of political parties. Although the title recalls the spread in many European countries battle festival of colors, it was downright brutal and bloody.

At the time when the troubadours knight include in his coat flower daisies, which meant a great lady, it was a sign that the lady agreed to take his ministry. Accepted symbol of valor and courage was the pink and in this sense it may be present in the portrait of a knight by Rogier van der Weyden. But more often in the portrait of XV-XVI centuries., Especially in doubles, the red carnation has a value a symbol of love and betrothal, and in the hands of the model serves as a reminder of the engagement. In Germany, this symbol was a thistle.

symbolism of color in the portrait, This first of secular genres of painting, continued to persist in the next century. It is hardly coincidental Rubens chose honeysuckle bush backdrop for wedding "Self Portrait with Isabella Brandt (1609. Munich, Alte Pinakothek). This plant was considered the embodiment of permanence, as well as long lasting pleasure. In the courtly poetry minnesingers (Laye of honeysuckle ", XII cent.), A medieval poem of Tristan and Isolde with honeysuckle compared gentle lover. Echoes This tradition can be heard in the words which says enchanted Titania, the heroine of Shakespeare's "Midsummer Night's Dream" (Act IV, Scene 1):

Sleep! I love you hands obovyu ...
So honeysuckle scented oak barrel
Lovingly chokes ...

the same image link appears in the poetic Valentine greeting newlyweds, written about the marriage of the brother of the painter, Philip Rubens:

trunk wide elm vines entwined flexible,
tender stalk top hugs the thin branches.
So, in love, you sopryazhete happy ties,
Both the flowering, respectively, at the height of all the talents
body and soul. ....

Quite unexpectedly, the modern view, looks like "Self-portrait with a sunflower," Anthony van Dyck, in which the artist clearly demonstrates flower of the viewer, holding it in his hand held high. In the days of Van Dyck's sunflower was still relatively new representative of the flora in Europe. He was brought by the Spaniards from Peru in 1569 and gradually spread to other countries. They called him the sun of India and to the XVII century. grown in gardens as a rare ornamental plant, just in time beginning to use the seeds as a flavoring additive in food. Since the flower does not have an established symbolism, noting his property to turn after the sun, by analogy with the long-known marigolds (Calendula), it began to be considered a symbol of the sun (the Creator of the monarch), and fate, as well as loyalty. Van Dijk included flower in the portrait as a symbol of unwavering dedication to his protector - English King Charles I.

the XVI century, secular symbols in art is gradually gaining more rights. Renaissance revived the legacy of antiquity, and colors are now once again accompanied by images of Venus and Flora, participate in the scenes with allegories of months and seasons, feelings and elements, representing spring, smell or sight, the earth or fire (Jan Brueghel the Elder. "smell"). This secular allegorical painting special development will be at the end of the century, around 1600, mainly in the Netherlands masters, they were also the creators of the first machine-still-lifes.

Birth of floral still life in this period have been prepared confluence of circumstances. Firstly, the artists relied on well-developed tradition of images of flowers in the Dutch painting of the XV century. and miniatures Book of Hours. Secondly, great pictures - Study of plants birds, small animals, Durer, marked the beginning of the Renaissance tradition of field studies in Germany and the Netherlands. Thirdly, the very plant life that surrounded artists, has changed dramatically and was no longer the same, that a hundred or two hundred years ago. From the middle of the XVI century in Europe first appeared east bulbous plants and among them - the tulip, which transformed the flower gardens, and then thereto were added, and plants from the New World. Botany Department of Medicine, which is subordinate to for a long time, and became an independent scientific discipline. The appearance of floral still lifes coincided with a period of rapid development of horticulture, both scientific and recreational, and Holland was the leading center of it. Here the outstanding botanists of his time. Some artists just botany and gardeners are drawn into employment flower paintings, ordering them to pictures of plants for research purposes.

first easel still lives there in 1600-ies. in the works of Jacob de Heine, Rulanta Savereya, Jan Brueghel, Ambrosius Bosharta and represented artfully arranged songs of many colors in the elegant vase. Playing the rare plants, artists, and vases for them picking difficult. This could be a vessel of Venetian glass and Chinese porcelain vases, precious in themselves, on one of the paintings by Balthasar van der Asta bouquet placed in a large sea shell.

At first glance, bouquets seem to be written from life, but on closer look it becomes obvious that they are made from plants flowering at different times. Same impression of naturalness and illyuzionisticheskogo lifelikeness arises due to the fact that the images of individual colors based on the individual nature studies. It was the usual method of painters of floral still lifes. Instead of an outline or sketches in pencil or pen, they carry out detailed drawings in watercolor and gouache, painting flowers from nature, in different angles and in different light, and these drawings then served them several times - they repeated them in paintings. As raw materials also used the drawings of other artists, especially those that have been made in the New World, and contained specimens of exotic flora, engravings from the printed collections and botanical atlases.

Individual was a way to use these drawings. So, Ambrosius Bosshart could repeat of the pattern in the picture the same image of the flower, such as roses, and among his extant works can count to five or seven of these repetitions, while Jan Brueghel Velvet is almost never done.

"portraits" of flowers, written on parchment in watercolor and gouache, could be created and the other end, In addition to preparatory work for the still life. They were ordered owners of gardens to perpetuate the strange and exotic and simply beautiful flowers collected or derived by the owner. Along with a collection of paintings, sculptures, coins and various curiosities in Kunstkammer, along with a "museum" Fauna - menagerie ruling nobleman could boast of a collection of flowers from your own garden, embodied in still life or this album.

Preserved to the present day albums contain from several tens to two hundred drawings. Gardeners were engaged in cultivation of flowers and breeding of rare species, ordered painted flower catalogs that customers can see what will grow out of paid their bulbs. This was especially true during the period of speculation in tulips - Notorious tyulpanomanii. Speculation in tulip bulbs in Holland in the second half of the 30-ies of the XVII century. indeed reached the degree of madness, when a tulip bulb Rare new coloring mortgaged house. In art, these circumstances have responded that the tulips are in almost every bouquet written in the first forty years of the XVII century, and most survived album with these colors. One of those books - "Tulip Book" by Jacob Marrela (1642) - contains a list with the prices of tulips in the years 1635-1637. In the midst tyulpanomanii.

Correspondence Jan Brueghel the Cardinal Federico Borromeo contains interesting details about the method works by masters of flower painting. In a letter in 1606 as an artist told Borromeo about working on his next order: "... he remarkably able: not only because it is written from life, but also because of its beauty and rarity of its constituent variety of colors, unknown and never seen before: I therefore went to Brussels to write from life, some flowers, which can not be seen in Antwerp. "

Aspiration diversify the composition of their bouquets encouraged artists to work in different centers. Crispin de Passe the Younger (ca. 1597 - ca. 1670), author of the collection of prints depicting garden flowers "Hortus floridus" (1614), who had a great influence on the development of floral still life in Holland, in the introduction of expressing gratitude to the twenty-seven "Lovers of flowers and herbs" from Utrecht, Amsterdam, Haarlem, Leiden, which allowed him to paint flowers in their gardens.

To paint colors from nature, Amsterdam painter the late XVII century. Jan van Heysum was forced to spend every summer in Harlem, which was then, as now, was the center of the Dutch floriculture. The artist also had to wait for changing seasons, to write the desired flower. In one letter he explained to the customer that can not finish still-life, including a yellow rose, until it blooms next spring. Thanks to this still-lifes themselves becomes a kind of flower collection. As written for the Borromeo Brueghel paintings collected over a hundred floral rarities, including eight varieties of tulips, five - Iris, at least nine Forms of daffodils.

Albums Atlases colors (Florilegium), a compendium of the samples, not only for paintings but also for craftsmen; they owe their beauty and perfection of the flowers, chiseled on silver, carved wood, embroidery on fabric (a dish with tulips from the Armory, Dress Elizabeth English).

created with such a focus on nature, often generated by vanity, pride, and other worldly ambitions, whether they contain floral symbolic allusion? Many times in the images themselves, and in the surviving documents allow argue that this is so.

world of natural forms, for centuries, is included in the symbolic picture of the world, could not immediately lose its value higher. Over time, modified, a message encrypted in the floral art, enriched by new shades in accordance with the context of the era. Floral still life still inspired the audience to reflect on moral and religious subjects. Composed of beautiful and varied colors, bouquet was a beautiful hymn to the beauty of divine creation, and through it - the wisdom and generosity of the Creator, and let forever capture this beauty. Already familiar Federico Borromeo we noted that the written flowers will bloom much longer - even when in nature they will wither and die. And how the divine creation, they are above the worldly goods.

sung for Cardinal "Still Life with a golden bowl," J. Brueghel Borromeo wrote: "I wrote Under the flowers jewelry jewelry and coins ... now your honor judged superior to the colors gold and jewelry or not. "

At the initiative of Cardinal Borromeo was introduced a new version of the iconographic image of the Madonna, surrounded by a flower garland. The Cardinal was not only an avid collector, but also a passionate Catholic. He also understood the force of impact pattern is formed on the religious sentiment of believers.

Around 1600 strengthened the cult of the holy miracle-working images of Madonna, the churches became customary to clean their precious jewelry and garlands of flowers. Having repeatedly floral still lifes by Jan Brueghel, Cardinal realized that the talent of the artist's image colors can be used for religious purposes, and in 1608 asked him to write a garland of flowers around the image of the Madonna.

Although Bruegel was the progenitor of such images, is best known for working in this field by his student, Daniel Segers. Converted to Catholicism, a deeply religious man, Segers in 1615, he joined the Jesuit Order. He has worked for churches of the Order and the Jesuits often used his work as gifts to the secular princes and rulers. In contrast to Bruegel flower garlands in pictures Segersa not tightly woven wreath uniformly around the holy image. Its flowers are woven into the ribbon supporting frame picture, and are grouped in two places - they are now top of crown and the semicircular frame with three sides. In other cases, the image is an illusion painted stone relief in the cartouche of scrolls which are inserted small bunches of flowers. Expressiveness of painting based on the contrast of the dense and dark stone texture and bright colors of flowers with their delicate transparent petals. The artist was a gift of a harmonious union of the motley variety of colors in a reverent and joyful setting for a wonderful event, is accomplished in the picture.

as perfect of all creatures, which grow from the earth, a flower likened to a man, "transcending all living beings noble body composition, and the soul. " But both of them, like the generation of the earth, albeit beautiful, subject to decay, and in comparison with divine essence flowers transformed into an image reminiscent of the transitory nature of earthly life.

This Christian idea of "Still Life with a crucifix and a skull" by Jan Davids de Hema (Munich, Alte Pinakothek), supported by still and enclosed in a cartouche inscribed: "But no one turned to look at the best of all colors," sounding like a reproach mired in the fuss man. So a reminder of the transience of life - an artistic memento mori - a floral still life is an image of hours or skull. In a still-life with a different set of subjects flower itself appears in this role.

Davids, Jan de Heem (1606-1683) is widely used religious symbols in still life. Included in the bunch of ears of corn symbolizes not only the bread of Communion, but also the resurrection as a man, like a grain must first be buried in the ground, only to be reborn to new life. In the painting "Bouquet of Flowers in a Glass Vase" there is no symbolic objects, but very significantly compared to the dominant composition of scarlet poppies and white carnations. Attentive audience poppy had sent the following message: "Know that life is an illusion, is not based on the misleading its outer side effects. Do not let yourself captivated my beauty transient one, since I hide inside seeds of death and oblivion. " White carnation symbolized a clean and clear Christian life.

Very often, a Dutch flower painting is surrounded by butterflies, dragonflies, caterpillars and other insects and small animals that are naturally surrounded by flowers in nature. However, the pattern they form not only natural but also the symbolic context. Birds, butterflies and other winged creatures are old medieval symbol of the human soul. Caterpillar chrysalis and butterfly together mean life cycle and stages of earth's life, death and resurrection.

Hand Hurts Between Pointer And Thumb

On the symbolism of flowers in classical art. (Part 1)


On the symbolism of flowers in classical art.

(Part 1)
site - http://shursha.com

rare visitor to the gallery will not stop the view of Dutch still life with flowers. Like yesterday, rather than four hundred years ago, wrote these magnificent bloom or chastely stocked bowls - so bright colors, so silky petals with drops the wet dew that fancies in the air begins to loom delicate flavor. Mastery of painting and the charm of the thing itself deservedly attracted to flower still-life audience's attention. But few people think about what still lifes of the XVII century - only the brightest, the triumphant moment in the long history of images Flowers in art.

Since time immemorial, people appreciated not only the medicinal properties, but also raduyuschuyu eyes the beauty of these marvelous creations of nature and included the flowers in the context of culture. Flowers have been associated with the gods, they were a symbol of power or the will of the gods, served as an offering during worship. In reliefs and frescoes of ancient Egypt are often seen image of the person smell the lotus. Egyptians considered sacred lotus flower containing divine power, and inhaling its aroma should have been endowed with this power of man. Another area where already in the early cultures used the flower symbolism covered the whole sphere of love relationships in life, love lyrics and secular erotic art. In ancient Greece, the patroness of flowers and gardens considered Goddess of Love - "fialkouvenchannaya Aphrodite. The ancient Greeks tried with mythological figures and stories to explain the beauty of flowers, seasons and the cyclical rebirth of nature. They believed in the animacy of plants, assuming that each of them lived a magical creature - dryad or nymph.

Antique anthropomorphism vividly expressed in "Metamorphoses" by Ovid. Composition of the Roman poet I century AD contains the Greek legend about the origin of various birds, animals and plants that were once human beings and their new found appearance at the behest of the gods. Stories from the Metamorphoses of Hyacinth and Narcissus, transformed into flowers are known more than others, not least because of the prevalence of color themselves. The product has earned the undying Ovid glory through the ages. Over two millennia, was created huge number of works on subjects "Metamorphosis." Perhaps most notable among them - Poussin painting "The Kingdom of Flora", in which the artist has unexpectedly returned to the heroes of their human form, depicted in the form of beautiful young men and women as they were before the transformation.

In ancient Rome, the guardian of flowers and gardens revered Flora - goddess of fruit-bearing powers of nature, one of the oldest Roman pantheon of deities. She focused on the Floralia - a holiday in honor of the goddess, celebrated between April 28 and May 3 and features the greatest liberty mores. The custom of celebrating Floralia revived in Renaissance Florence, and in this "flourishing" city (fiorente - in Italian "blooming") was established the most famous monument to Flora - Botticelli's painting "Spring". In embroidered flowers dress light step treads goddess, throwing red and white Rose, defining the beginning of spring bloom on the ground. Its appearance extremely similar to the image of Flora in the Pompeian frescoes, although they were discovered much later and the artist could not see them.

In ancient Greece and Rome, as in ancient Egypt, was widely spread custom to use the flower decoration during religious and secular celebrations. Wreaths and garlands decorated with statues of gods and participants in religious processions, the Greeks planted flowers on the graves of the dead and showered with rose petals and violets bed Suite. In imperial Rome, passion flowers, especially roses, came to the extremes. Rose, the former hitherto attribute Venus / Uranus - the goddess of love sublime and honorable marriage, is now dedicated to Venus, Pandemos - the goddess of sensual love, it becomes a flower luxury and corruption, an indispensable accessory orgies.

The famous dining room in the palace of Nero, the ceiling and walls of which were rotated during the feast using a special mechanism and alternately depicted the four seasons, instead of hail and rain on the guests began to pour in fresh rose petals. During the feasts a carpet of rose petals carpet the floors, are decorated with flowers were not only guests, but also servants, dancers, food, tables, dishes and themselves. At one of the feasts, arranged Emperor Geliogabalom, guests threw so many rose petals falling from the ceiling, that some of the noble patrician suffocated under the them, much to the delight of the owner.

For the early Christians rose as an attribute of a vicious and depraved of Rome as a symbol of destruction and death. Tertullian wrote a strong message against the use of a wreath of roses, and Clement of Alexandria, revered sin crowning his head in such a wreath. After the fall of the Roman Empire in the early days of Christianity flowers as decorations and themes for the paintings were rejected, and yet fell into disrepair culture of flowers and gardens.

new impetus for development was obtained in the VIII. under Charlemagne. During the Crusades in Moorish Spain, the emperor saw the Arab gardens, in which each flower has its value - the language of flowers used by wives in a harem. Blessed shade, the murmur of the cool fountain, fragrance and beauty unseen flowers gave body and soul desired repose. In these gardens, oriental emperor saw truly transform the heavenly paradise on earth. Decree 795, Carl Commanded a great break in their castles, and monasteries and gardens and put them in medicinal plants, fruits and vegetables, and flowers - roses, poppies, lilies and irises, and thus laid the foundations of European horticulture.

Around the same time began the development of Christian symbols and language of flowers colors. After centuries, the beauty of flowers has conquered the holy fathers, and the best plants are associated with the Virgin Mary, Christ and the saints. In the preserved description of the monastery garden in Germany at that time the author identified "two flowers, especially the favorite and earned admiration over the centuries that are as symbols of the great treasures of the church - a rose, symbol of the spilled blood of the martyrs, and a lily - a shining symbol of faith. "

texts of the Bible given food Christian thinkers to build symbolic structures and allegories. In the verses of the Psalms, in the prophecies of Isaiah, in the pages of the New Testament words are repeated, likens human life grass. "As for man, his days are like grass, he does not bloom longer than the flower of the field. The wind passed over it - and it is gone, and the place where it was not known " - These verses from Psalm 103 to the centuries become an impressive way impermanence and transience of earthly life. Since the glory of the worldly and earthly life of perishable goods and ephemeral, a flower in Christian art as a symbol of emptiness (Latin vanitas) - empty bustle of achieving wealth and honors.

Together with the words of the prophet Isaiah about the germ from the root of the tree of Jesse and a flower that will give this escape, theologians interpreted as a prophecy of the Virgin Mary and Christ. Conventional metaphor for Christian writers became the image of Christ - the finest of flowers, and this contributed to the justification of the nature and perception of her in a positive sense. The beauty of flowers has become proof that the world was created by God.

Propagation of Christian symbolism in the world of plants based at the thought of theologians of the Middle Ages that God has revealed his wisdom, not only through word of his first book - the Holy Scriptures, but by the second "book" - Creation of the universe with the earth and populating it with all animals and plants. To the medieval mind characterized by a symbolic way of thinking, and its hallmark was versatility extends to all manifestations of life. Any phenomenon of earthly life, any object, including and from the world of plants, in addition to its direct meaning could be interpreted allegorically and symbolically, as both the smallest creature to behold a great help wisdom of God.

acted as a "mechanism" of this consciousness, perfectly described in "Life of St. Francis of Assisi:" After Treatment his eyes were opened, as if illiterate learn to read. Now all he had seen the seal of God - the Creator and the Savior: a piece of wood meant for him Cross Stone - Jesus Christ, called in Scripture the cornerstone, the flowers - also our Lord called lily of the valleys ... sun reminded him about God, it was a symbol of truth. " He believed that the Creator is angry, if not will appreciate his gifts, and brotherly love embraces the whole lower world creations, expressing it in the words of the hymn:

Praise be to Thee, my Lord, from our mother earth,
She nourishes us and directs us,
generates us the fruit is set,
Flowers gives us red and grass.

collection of religious writings of St. Francis of Assisi called "Flowers".

many colors known by the writings of ancient authors (notably botanist Dioscorides), under the Latin names, were in Christian times the name of religion. So, primula called keys of St. Peter or the Virgin Mary (inflorescence resembles a bunch of keys), Paschal candle (often the time of its flowering coincides with Easter). Different bells called St. Joseph's lily, star of Bethlehem, the crown of Mary, the glove Mary, Mary Mack called buttons, begonias - heart Jesus and the divine eye, curly clematis - hair, beard, Jesus or God, calendula (marigold) - Maria's fingers and salad all the saints. Compositions Mystics factor likening these to infinity.

symbolic value attributed to the flowers by association with different features - with the form, color, a consonance with the name of a flower, at the place of growth. All the white color represents purity and innocence, especially white roses and lilies, red flowers were a symbol of Christ's Passion (especially roses), the blood shed saints and martyrs. Aquilegia (columbine), whose petals are vaguely reminiscent of a dove, was considered symbol of the Holy Spirit, and its three-part leaves symbolically correlated with the Holy Trinity, as well as strawberry and daisy because of the shape of its leaves, and pansies - flowers. Flowers of all shades of blue, cyan, magenta - bluebells, cornflowers, violets, irises, forget-me - reminded of the heavenly blue. Forget-Me has its own name reminded of the need for reflection on the divine essence.

Not surprisingly, these same colors are most often can be seen in the friezes of the XV century Flemish prayer, especially those that were created by the masters of Bruges and Ghent. They are symbolically associated with religious scenes, placed in the center of the page. Violets, daisies, wild strawberry bushes flank the image of Christ Almighty, thus emphasizing that the greatness of his - In humility, as these modest flowers, growing quietly in the grass, meant precisely this Christian virtue. Careful illusionism with which they're written - with a cast across a gold background shadows, with drops of dew on the petals trembling, gave birth to a bold hypothesis that the color picture in a more later time to replace the real plants that put the pages Chasovnikov, who took with them aristocratic pilgrims. Flowers and insects, dried between the pages of books were precious reminders of the important points of pilgrimage. Their treasure.

Images of flowers, of course, occurs in the pictures, painting paradise - a country of plenty, blessed with a mild climate in which people and animals live in perfect harmony Surrounded by luxurious, abundant vegetation and from which Adam and Eve were expelled for disobedience. This garden nepodvlasten change of the seasons - it is always reigns summer and the flowers bloom all year round. It is in this Garden of Eden appears in the central picture of the famous Ghent altar "brothers Jan and Hubert van Eykov. In the scenes of the fall flowers at the feet of ancestors symbolize heaven, as well as herbs with flowers at the feet of saints on the wings of the many altars Netherlands Artists beginning of the XVI century.

the Italian Quattrocento artists flowers bloom even in the scenes of Christmas ("Christmas" Filippo Lippi), occurs, As is known, in the winter, expressing the joy of the world about the birth of baby Jesus and being a sign of the coming paradise for the salvation of mankind.

In the Middle century theologians believed that the earthly paradise was not washed away by the flood, but survived, and where some still exist. Copies of exotic flora, brought pioneers from the New World and India, initially perceived as a confirmation of those expectations, but by the end of the XVI century. it became clear that these hopes will not come true.

Whatever it was, during the Middle Ages was considered a real garden of earthly image of the heavenly paradise. The gardens were divided at monasteries, and later in the castles; Floriculture has become an important activity of monks. And in the church and in secular garden central place was given to plants, imbued with Christian symbolism. In the first place They were roses and lilies - the flowers, dedicated to the Virgin Mary. Roses, flowering among the thorns, likened to the Virgin, who was born and lived among sinners.

German painters in the era of international Gothic painted Madonna and Child in the rose garden or in the gazebo, which are covered with roses. This small rose garden symbolized Paradise, which is found by humanity through the crucifixion sacrifice the God-man, born of the Virgin. The image of the "enclosed garden, symbolizing purity Mary Rose, like many other metaphors associated with Mary and Christ were taken from "Song of Songs of Solomon. Under the pen of the Holy Fathers this masterpiece love lyrics turned an expression of fervent religious feeling, and has been interpreted in terms of Christian symbolism.

no accident associated with roses and the name of the rosary in the European languages (rosary, le rosaire). According to the old medieval legend, Mary gathered herself rosebuds, to fly from the lips of a young monk when He again and again repeated the prayer in honor of the Virgin, and wove a garland of them, and which crowned his head.

writing German Dominican Monk 1470's. prescribed by the introduction into use of beads and the establishment of the worship of Saint Dominic, contributed to the popularity of the holiday beads. This rather rare in painting the story - the glorification of the holiday beads - paint a picture of A. Durer Madonna rosary, in which many little angels cherubs keep the pink wreath and crown them sitting on the throne of the Madonna.

In Italy, the spread was the iconography of "Santa Maria della Rosa (Madonna with the rose), and one of the most memorable images, marked by an aristocratic elegance and coldness inherent in the mannerist art of the XVI century., painted by Parmigianino.

In Christian art the rose symbolized as good deeds perpetrated by the Saints, and as such was a regular feature of some of them. Basket full of roses, holding the holy Casilda (F. Zurbaran. "Apotheosis of St.. Casilda) and Saint Dorothea (Lucas Cranach the Elder. Altar of St. Catherine), rose portrayed in the lap or in an apron at St. Elizabeth of Hungary.

Another major flower of the Virgin Mary had a white lily - a symbol of purity. Often all this as it appears in the scene of the Annunciation: she is holding, as if the angel Gabriel brings Mary, or it can stand in a vase. In the early произведениях Гавриил изображался держащим оливковую ветвь — распространенный в античности знак доброй вести, но позднее оливу заменила лилия (Ян ван Eyck. "Archangel Gabriel" - a fragment of the song "The Annunciation" on wings of the Ghent altar). As a symbol of purity and chastity lily has an attribute many of the saints and the figures in the pictures of Catherine of Siena, Saint Clara, Saint Anthony of Padua, Francis of Assisi, Dominic, Thomas Aquinas, Philip Neri. Stressing the chastity of St. Joseph (Mary's husband), the lily stands and its attributes.

third dedicated to Mary was a flower, iris, or Mechev lily. Its name comes from the leaf shape, resembling a sword, and it's associative knitted flower with the "seven sorrows of the Virgin, as the sword pierced her heart. In a scene of The Adoration of the Shepherds Portinari altar Hugo van der Gus irises in earthenware vase on the ground in the foreground make a sad note in the joyous event of Christmas, as hinted at the coming suffering of Mary.

addition to these basic attributes of the flower, the Virgin Mary generally devote a lot of colors. She seemed to be inherited the role of ancient Flora - Protecting colors. May - the month of spring bloom - was dedicated to Mary, and a custom in May to serve 31 floral service, one for each day, noting her some flowers.

In scenes associated with the Virgin Mary - in the Annunciation and Nativity, - And the first flowers appear. They combine core dedicated to her flowers in a symbolic bouquet of virtues of the Virgin Mary. " Master of the Annunciation Exa has written a bunch of red roses sacrifice virginity lily and iris suffering at the forefront of the altar "Annunciation." From the bouquet - details Although mnogoznachaschey in figure compositions, to the bouquet - the subject of a separate image remained one step, and it did the Dutch artist Memling, wrote the first floral still life on the back of the male portrait in a small triptych, where the central door with an image of Mary with Child framed portraits of the four donators (1490). In the niche on the Persian rug covering the table (or rather the altar), Memling painted earthenware bowl bearing the monogram of Christ (HIS) with a bouquet of lilies, iris, and a bell. In the closed form on the half before the worshipers are brought not a religious figure, as usual, but her character, expressed The exquisite floral still life. Nisha is a sign of sacred space, a vase, as indicated by the monogram, symbolizes Christ, who is a "vessel eternal life, purity (Lily) and suffering (Iris) defeated death (bell-aquilegia was a symbol of victory of life over death).

This is one of the most striking manifestations of the hidden symbolism in the Netherlands painting XV. that has reached the highest perfection in the incarnation of the sacred in the religious sense picture with just selected and extremely believable transferred items around the world.

parallel with religious symbols In the Middle Ages in European art continued to evolve, though not so clearly and intensely secular symbolism of flowers. In minnesingers poetry (in translation from German literally: the singers love) Mary Rose Garden of Eden into a garden of love, where they sang, danced and wove wreaths and exchanged them as a token of tender feelings love the ladies and gentlemen. A little later these Frivolous gardens of love embodied in the French tapestries and miniatures of the manuscripts of the XV century., Performed at court of the Burgundian dukes - the most opulent and refined, aristocratic courts of Europe. Gained extraordinary popularity, "A Novel of the Rose" by Guillaume de Lorris, in which the author has made flowers envoys of the senses and returned the value of the rose symbol of sensual love. Number of roses used for festivities and decorations rooms, approached during the late Roman Empire.

How Can I Get Howard Tv Free

History of Still Life (Part 3)

History of Still Life (Part 3)


site - http://shursha.com

In the second half of the XIX century a lot of attention images of objects paid PA Fedotov. Although he did not write their own still life, a world of things created by him, admire its beauty and truth.

Items in the works Fedotov inseparable from human life, they take a direct part in the dramatic events portrayed by the artist.

Looking at the picture of "Fresh Knight (" The morning after the feast, "1846), one is struck by the abundance of objects, carefully written out by the wizard. This still-life, surprises with its laconic, presented at the famous painting Fedotova "Courtship Major" (1848). Tangible reality transferred Glass: wine glasses on high legs, bottle, carafe. Subtle and transparent, as if it produces a gentle ringing of a crystal.

Fedotov does not separate the objects from the interior, so things are shown not only reliably, but also beautifully subtle. Everyone most usual or not too attractive a subject that takes its place in a common space It is surprising and beautiful.

Although Fedotov did not write the still-lifes, he showed a definite interest in this genre. His instinct told him how to place this or that object, from what point of view, it represented what things will look next to not only logically reasonable, but also expressive.

World things, helps to show human life in all its manifestations, gives the product Fedotov special musicality. These are pictures of "Encore, Once More Encore "(1851-1852)," Widow "(1852) and many others.

In the second half of the XIX century, the genre of still life practically ceased to interest artists, although many genre painters willing to include elements of still life in their tracks. Becomes very important things in the pictures, VG Perov ("Tea in Mytischi, 1862, Tretyakov Gallery, Moscow), LI Solomatkin (Slavilschiki-policemen, 1846, the State Historical Museum, Moscow).

Still Life submitted in the genre scenes, AL Yushanova ("Seeing the Chief", 1864), MK Klodt ("Sick musician, 1855), VI Jacobi (Jagger, 1858), AI Korzukhina ("Before the confession," 1877; "The Monastery Hotel, 1882), KE Makovsky ("Senya", 1882). All of these paintings is now stored in the collection of the Tretyakov Gallery.

In 1870-1880-s leading genre in Russian art remained a household, while landscape and portrait also occupied an important place. Huge role for the further development of Russian art Wanderers played, attempting to demonstrate in his works the truth of life. Artists began to attach great importance to working with nature, and therefore all increasingly turned to landscapes and still lifes, although many of them considered the last waste of time, meaningless form of passion, devoid of internal content. Thus, IN Kramskoy mentioned about the famous French painter, do not neglect the still-life, in a letter to VM Vasnetsov: "Do not be as talented people spend time on the image, say, cans, fish, etc. It's good to make people who have already everything, but we have things nepochaty angle.

Nevertheless, many Russian artists who have not written still life, admired them, looking at paintings of western masters. For example, the VD Polenov, located in France, wrote IN Kramskoy: "You look like here it goes like clockwork, working each in its own way, in a variety of ways that someone on the soul, and all that is valued and paid. We mainly importance that has been done, but here - as done. For example, a copper pan with two fish to pay twenty thousand francs, and even in the bargain consider this copper Affairs master painter first, and perhaps not without reason to. "

who visited in 1883 at an exhibition in Paris VI Surikov admired landscapes still-lifes and paintings depicting flowers. He wrote: "Good fish Gibert. Fish transferred to slide-ways masterful, colorful, tone on tone kneading. There is a his letter to PM Tretyakov, and the words: "A fish Gilbert - a miracle that is. Well, quite a hand can take up to hype written. "

And Polenov and Surikov would be the perfect masters of still life, as evidenced by the masterly written articles in their compositions ("Patient" Polenov, "Menshikov in Berezovo "Surikov).

Most of the still lifes created by famous Russian artists in 1870-1880's, is a product of etude character, showing the desire of authors to convey particular things. Some of these works depict the unusual, rare items (eg, sketch with a still-life paintings for IE Repin's "The Cossacks writing a letter to the Turkish Sultan, 1891). Independent values of such works were not.

interesting still lifes, AD Litovchenko made as preparatory sketches for a large canvas "Ivan the Terrible shows his treasures to Ambassador Horsey" (1875, Russian Museum, St. Petersburg). The artist showed the luxurious fabrics of brocade, weapons, inlaid with precious stones, gold and silver stored in the royal treasury.

more rare at the time were etude still lifes representing ordinary household objects. Such works created with the aim of studying the structure of things, and is the result of the exercises in painting technique.

important role played not only still life in the genre, but and portraiture. For example, in the film IN Archaeology "Nekrasov during the" Last Song "(1877-1878, Tretyakov Gallery, Moscow), subjects performed feature enhancements. SN Goldstein, who study creativity of Archaeology, writes: "In search of the general composition of the product it seeks to ensure that the reconstituted their interior, in spite of his own household, contributed primarily awareness of the spiritual image of the poet, not fade away value of his poetry. And indeed, some of the interior accessories - volume of the "Contemporary", randomly arranged on a table at the bedside, sheet of paper and a pencil in his feeble hands, bust Belinsky, hanging on the wall portrait Dobrolyubova - acquired in this work, the value is not external signs of the situation, but the relics are closely related with the image of man. "

Among the few still-lifes Wanderers important place occupy the "bouquets". Interesting "Bouquet" VD Polenova (1880, Museum-Estate Abramtzevo), in the manner of the execution a little reminiscent of still lifes IE Repin. Unassuming of their motives (small wild flowers in a simple glass vase), he nevertheless admires his free paintings. In the second half of 1880 similar flowers appear in the painting II Levitan.

A different flower shows viewers IN Picture. Many researchers believe that the two paintings - "Bouquet colors. Phlox (1884, Tretyakov Gallery, Moscow) and "Roses" (1884, a collection of RK Viktorova, Moscow) - were created by master while working on a canvas "Inconsolable grief. "

Two bouquet Kramskoy demonstrated at the XII traveling exhibition. Showy, bright composition, depicting garden flowers in the dark background, found buyers before the exhibition opening. Owners of these works have become Baron GO Ginsburg and the Empress.

At IX traveling exhibition 1881-1882 the public's attention was drawn picture KE Makovsky, the name in the directory "Nature morte" (now it is in the Tretyakov Gallery, entitled "In the Studio artist). On a large canvas depicts lying on the carpet a huge dog and a child, which stretches from the chair to the fruit on the table. But these figures - only details necessary to the author in order to revive the still-life - many luxury items in the artist's studio. Written in the tradition of Flemish art, Makovsky's painting is still touches the soul audience. Artist, fascinated by the transfer of the beauty of expensive things, failed to show their individuality and create a product, whose main goal - a demonstration of wealth and luxury.

All items in the picture as if collected in order to impress visitors with their magnificence. Is on the table for a traditional still life set fruit - large apples, pears and grapes on a big beautiful dish. Here is a big silver mug, ornamented. Nearby is a bluish-white porcelain jar, next to which is richly decorated with antique weapons. The fact that this workshop artist, reminiscent of the brush, placed in a wide pot on the floor. In the gilded chairs - sword in a sheath of luxury. Carpeted floor mat with a bright ornament. Ornament serve and expensive fabrics - brocade, trimmed with thick fur, and velvet, from which it is sewed curtains. Coloring fabrics designed in rich colors with a predominance scarlet, blue and gold.

From the foregoing it is clear that in the second half of the XIX century, still life does not play a significant role in Russian art. It was distributed only as a sketch for a painting or training Study. Many artists, still-lifes who served in the academic program in a separate creativity is more to this genre, did not return. Still Lifes wrote mostly non-professionals who created watercolors of flowers, berries, fruits and mushrooms. Large master of still life was not considered worthy of attention and use items only in order to convincingly show the environment and beautify the image.

first rudiments of a new still life can be found in the paintings of artists working at the turn of the XIX-XX centuries: II Levitan, IE Grabar, VE Borisov-Musatov MF Larionov, KA Korovin. It was at that time in Russian art still life emerged as an independent genre. But it was a very unique still life, understood artists working in the impressionist style, not like a normal closed subject composition. Masters portrayed the details of still life in the landscape or interior, and it was important not so much the life of things, how much space itself, a light mist, dissolving outlines of objects. Of great interest are as graphic still lifes, MA Wrubel, characterized by a unique identity.

At the beginning of XX century, important role in the development of Russian still life played artists such as AY Golovin, SJ Sudeikin, AF Gaush, BI Anisfeld, IS Schoolboy. The new word in this genre, and said NN Sapunov, who created a series of paintings, mural с букетами цветов.

В 1900-х годах к натюрморту обратилось множество художников самых разных направлений. Среди них были т.н. московские сезаннисты, символисты (PV Kuznetsov, Kuzma Petrov-Vodkin), etc. The important place occupied the subject compositions in the works of such famous artists such as MF Larionov, NS Goncharov, AV Lentulov, RR Falk, PP Konchalovsky, AV Shevchenko, DP Shterenberg made with still-life full, among other genres in Russian art of XX century.

Signs A Man Is Interested

History of Still Life (Part 2)

History Still Life (Part 2)

site - http://shursha.com


Gradually simple motives in the Dutch still lifes were finally driven out themes such as rare flowers and imported from distant countries bear fruit.

Creativity as A. Mignon, YD de Hema, J. van Heysuma, said that the artists turned to sophisticated technology, captures the world of decorative and refined. Familiar, everyday images of nature retreated before the exotic and magnificent brightness. More surprising see pictures Adriaanse Koort, who worked from 1685 to 1723 in Middelburg and Zirikze. He wrote lucid and modest still-lifes, different performance skill ("Pot with strawberries," 1697, Hermitage, St. Petersburg).

In the second half of XVII century, widespread in the Netherlands were not only the flower still-lifes, but also pictures showing the battered game. On small canvases depicting small birds, at large - brought in from the hunt swans, rabbits and other forest dwellers. Similar topics dictated artists lifestyle of the bourgeoisie, whose favorite pastime was still hunting. Average population content with small game, caught by snares. Wealthy citizens preferred to hunt the hare, and large landowners were taken home in triumph swans and pheasants. Very popular, especially among the ladies, enjoyed falconry. Many Dutch natyurmortisty sought to capture in his writings colorful trophies lucky hunters.

in Amsterdam, Delft and Haarlem master specializing in the creation of still lifes with hunting trophies, and wrote small paintings depicting small prey. In Utrecht painters created a large-scale canvases with Game provided close-ups. In this city, have become widespread and the product, showing the whole poultry yard with live pheasants, peacocks and other exotic birds, which were brought to Holland by sea from distant countries.

tracks with small broken bird wrote Jan Fonck (ca. 1630 - ca. 1660). In his "Still Life with a bat bird "(the Hermitage, St. Petersburg), the master pointed to the dark background of several large birds, hanging by feet, and small, spread out on the table. Revival in painting, executed in brown and gray hues, making flaming feathers hanging on the left and the red grouse breast lies thrush.

Similar still life created and Cornelis Lelienberg (died after 1676). At his small paintings, executed in brown and gray color scheme, you can see the dead small birds, decomposed on the table ("Broken Bird", 1672, the Hermitage, St. Petersburg). Lelienberg later turned to larger decorative compositions, but the themes of his paintings remain unchanged.

Similar motives have attracted and the Dutch artist, known to us as monogrammist AL. On the personality of this master is not known. Perhaps He belonged to the circle Lelienberga. Very interesting, his painting "Killed a bird in a niche" in the Hermitage. Thin and gorgeous in color in its art of painting, it differs unusual compositional solution (broken bird is placed in a niche), helps the author to create some illusion of reality. Performed in the range of warm yellow-brown hues, still life revived by a bright red ribbon, covering the foot of dead birds.

Sometimes, such illusive tracks with hunting trophies artists transition to a still-lifes, "bogus", encountered with delight the audience. One such works - painting "Still Life Hunting" from the Hermitage collection, written by Johannes Leemans (ca. 1633 - ca. 1687 or 1688). The viewer sees hanging on the wall items designed for hunting. Finer black and white transitions help the master to transmit volume and make the image palpably real.

Still Lifes with hunting trophies also wrote Ferdinand Pain (1616-1680). Worked in grisaille technique, he achieves an extraordinary relief, which made his paintings very convincing. Elegant still life with Game created and Willem Hau Ferguson (ca. 1632 - after 1695), Scottish artist, who lived in The Hague and Amsterdam.

Все эти мастера выполняли небольшие по размерам полотна. Крупноформатные декоративные картины с изображением мертвых лебедей, зайцев, коз писали такие artists such as J. Veniks and M. de Hondekuter. The founder of this genre was a painter Mateus Bloom, which is known only that between 1642 and 1659 he worked for years in Amsterdam. The wizard created still lifes, compositions with hunting trophies and paintings of fowl. Bloom's works remained little. On the canvas of ermitazhskogo meeting "Killed game" (1653) the viewer sees shown in close-up of dead birds. In the center - a dead swan in snow-white plumage. The composition is made mainly in white and black colors.

In Utrecht and Amsterdam, the glory of the talented painter enjoyed Melchior de Hondekuter. His work is tending to effectively and magnificence, as well as arts and J. Veniksa, completed flowering of Dutch still life. Occurred XVIII century и искусство Голландии неумолимо приближалось к своему упадку.

Важное место занимал натюрморт и во фламандской живописи. Крупнейшим мастером, работавшим in this genre, was Frans Snyders, who had studied with Peter Paul Rubens. Although Rubens himself almost did not write the still lifes, things play in his compositions very significant role. Looking at the painting "Christ in the House of Martha and Mary" (National Gallery of Ireland, Dublin), the audience sees some different subject groups: broken bird lying on the floor, a branch with apricots, next to which sits a little monkey, a dish of grapes at the feet of one of the women; wicker basket with ripe fruits and berries on the table, covered with elegant tablecloths and a vase of flowers. Rubens openly admires the bright and colorful world of things surrounding the person.

During his apprenticeship Snyders wrote flowers, fruits, animals in many of the compositions of Rubens. They are the same things as equal elements, as well as images of people and landscapes. Perhaps the Snyders had a hand and Rubens painting "Christ in the house of Mary and Martha." In later years, the artist created gorgeous decorative still lifes on a large canvas showing the abundance of nature's gifts.

Many Snyders still life is a kind of allegories. Sometimes the compositions of "shops" the master enters the details of genre scenes. The presence of animal and human figures fills the still lifes dynamics and makes the picture a "dead nature" in the works, praising the infinite variety of the living world.

interest in things around man is at work in Italian painting. In the portraits, JB Moroni, A. Bronzino, L. Lotto, a subject, whether books, globe, compass, mandolin, or flute, is not only decorative, but also a symbolic significance. However, the emergence of still life as a genre associated with the name of Michelangelo da Caravaggio, filled in 1596 his famous "fruit basket" (Gallery Ambrosiana, Milan).

In XVII-XVIII centuries in Italian art happened isolation of local scenic schools. In this genre, like still life, there were certain themes have formed their own methods and techniques. Artists painted compositions with bouquets of flowers, fruits and vegetables, meat and vegetable stalls, kitchens, bat game, maritime gifts. Still lifes created with luxurious oriental rugs, fine china vases, pictures with the attributes of the profession of the scientist, musician, which is dominated by books, globes, flasks and retorts, music books, musical instruments etc.

canvases, similar to the works of the Dutch created the Italian artist Jacopo Clementi, called Empoli (1551-1640). He specialized in the genre still life, showing a variety of victuals. On his film "Still Life" (GMMI, Moscow), the viewer sees a variety of vegetables and fruit, a muffin, battered bird a flask of wine, a clay jug and other items presented on a dark background.

Wide dissemination of scientific knowledge at the end of XVII - beginning of XVIII century, inspired Italian painters to create a still life with the attributes of science. Younger compatriot Clementi, artist Cristoforo Monaro (1667-1720), wrote the painting "Still Life with writing, now preserved in the State Museum of Fine Arts. AS Pushkin. The painting depicts a close group of objects placed on the table. The books in the ink pens, pocket knife, a folded letter, ceramic vessels and other things, telling about the interests and occupations of their owner.

Formed in Italian varieties still life genre was soon perceived by painting school Spain France and Germany. Impact of Italian still life there and in some works of masters of the Netherlands and Flanders.

world of things interested English artist Francisco Zurbaran. Subjects in which founded the symbolic meaning, occupy an important place in his compositions religious themes. The artist also produced still lifes and actually talking about the enthusiasm for the master to the outside world.

remarkable coloristic mastery thin transfer material nature of the subject, skillful black and white molding volumes characteristic of still lifes by the famous English master Antonio de Pereda, experienced the influence of art by Diego Velasquez.

significant contribution to the development of the German still lifes made Georg Flegel (1566-1638). In the floral bouquet written by this artist, feel the influence of Dutch painters. Flegel in pictures you can see rare species of flowers, graceful vessels, fruits and berries in vases, a variety of vegetables. This is the painting "Still Life with Flowers and hors d'oeuvres" (Hermitage, St. Petersburg), compels the viewer to admire the beauty around the world. At the same time, details such as an hourglass and a bouquet of delicate flowers, whose life is ephemeral, reminiscent of the impermanence of life and pull together now with still-life type of vanitas.

Eventually Flegel compositions have become more concise and simple. In his mature works are usually shown only two or three items between them feels organic connection. With the help of colorful local spots and black and white transitions artist achieves a three-dimensionality that the image acquires a tangible credibility. Illusion tricks designed by German master, were later used by painters of the XVIII century, fond the creation of still lifes, "bogus."

In the art of France blossoming genre of still life began somewhat later than in Holland, Flanders, Spain and Italy - in the XVIII century. French still life characterized by such features as decorative, elegance, lightness of colors.

Many masters working в этом жанре, испытали влияние голландского натюрморта. Особенно заметно его воздействие в картинах с охотничьими трофеями кисти Жана Батиста Удри и Франсуа Backwardation. French artists were famous virtuoso painting techniques, the ability to convey the texture of any object: a metal vessel, Delft earthenware, a fragile glass, furry animal fur and soft plumage birds. Their paintings strike finesse lines and the mobility of the composition. But despite the numerous advantages of French still-life, they, unlike the works of the Dutch, are characterized by speculative and abstraction from the real reality.

In the era of the Rococo, with its pomp and glamor worked great French painter Jean Baptiste Simeon Chardin, who made a great contribution to the development of not only French but European still life. He managed to see a simple, unpretentious charm of motifs and poetry. That Chardin the first was able to show the relationship that exists between man and the world around him things. While the art of France dominated the mythological and historical genres, and Chardin, who is familiar with the aesthetic beliefs of the great educator of Diderot, was able to oppose them with a theme addressed to life and life a simple man.

At the end of XVIII - early XIX century, still life began to lose its former importance. In vogue "high" genres, which strongly promoted academics. Were very popular antique and historical subjects. A still-lifes were set in academia as a teaching material for young artists.

Much attention is paid Finnish still life painters. In this genre worked Shilmark Nils, brothers Wilhelm (1810-1887) and Ferdinand (1822-1906) von Wright. Unlike his older brother Magnus, who has devoted his creativity mostly landscapes, Wilhelm and Ferdinand, in addition to paintings depicting Nature, wrote virtuoso compositions that show the world of things.

One of the most famous works of Wilhelm von Wright - Still Life with hunting trophies "Broken Duck" (1851, Atheneum Museum of Art, Helsinki). The artist is very accurately conveys the scope and texture of objects depicted on canvas (Gloss ceramic bowls and metal cups, polished wooden table top time, the roughness of the cutting board, soft iridescent in the light feathers of ducks).

set of still life set up the youngest of three brothers - Ferdinand von Wright. Among his best works - "Still Life on sewing table "(1868, Atheneum Museum of Art, Helsinki). Cloth admire the grace and colorful picture of wealth. On a dense purple tablecloths with black ornamental patterns are closely arranged things: books, top of which is decorated with gold-embossed, elegant travel bag in brown leather. Track completes the bouquet of flowers - yellow orchids and roses. Flowers, towering over the rest of things, like pass the idea that wildlife dominates inanimate world. This work shows not only the extraordinary powers of observation and the master of his hard work, but also the desire of poeticised objects to emphasize their inextricable link with the man.

In the same vein, performed, and other still lifes by Ferdinand von Wright: "Still life with dead bird "(1867, Atheneum Museum of Art, Helsinki) and" Still in the studio "(1868, Atheneum Museum of Art, Helsinki), where the illusionist certainty shows the attributes of the profession of the painter and other items. Beautiful still life writing in the second half of the XIX century and the Finnish artist Fanny Kurberg and Mary Wiik.

interest in still life intensified in the late XIX - early XX century, when Europe, a host of new artistic directions. Much attention things that surround a man paid by the representatives of French impressionism. For still lifes treated Edouard Manet, Auguste Renoir, Claude Monet, Pierre Bonnard. Postimpressionist also fond of this genre. A set of still lifes can be seen in the artistic heritage of Vincent van Gogh, Paul Gauguin. Significant contribution to the development of European still life, introduced Paul Cezanne, whose well-known artists saw it as their teacher. Paintings of the objective world, written by Cezanne, became a model for many European and Russian artists who worked in this genre.

Still life feature prominently in the painting simvolista Odilona Redona, fovista Henry Matissa, kubistov Juan Gris, Georges Braque, Pablo Picasso, priverzhentsa metafizicheskogo iskusstva Giorgio Morandi. World of things, distorted and unexpected, appears in the paintings of surrealist Salvador Dali.

in Russian art of the emergence of still life is associated with the iconography. Various items included in the overall composition, but sometimes became an independent picture. For example, on the back of the icon of Our Lady of Vladimir (XII century), kept in the Tretyakov Gallery, one can see a sort of "Still Life", composed of religious things - "See and instruments of passion, by an unknown artist circle of Andrei Rublev in the early XV century. But in the fullest sense to call these images of still life is impossible, as items presented in these paintings, had no independent significance and played the role of religious symbols.

in the icons, frescoes, miniatures of the XVII Century there is a considerable interest in artists' subjects. Masters carefully prescribe the form of things and their features. Nevertheless, the introduction of the composition some elements of still life is still determined only by the storyline. The author tries to show viewers that the situation in which events occur. In the Baptist Yaroslavl is a fresco of the church's Feast of Herod ", where you can see a huge table, forced by the plates, cups, cutlery and various of food. This still life is still very clumsily written, the master does not comply with the laws of perspective, many subjects are deprived of volume.

with much more skill Subject Group presented an artist, Simon Ushakov, the author of the icon "Old Testament Trinity" (XVII century). House painter seeks up to reproduce material из которого сделаны блюда, кубки, кувшины, показать узоры, покрывающие посуду. Даже аккуратные складки на скатерти переданы Ушаковым тщательно, любовно. Но At the same time the principles of icon painting (decorative, planar abstraction, an abundance of gold-tone) do not allow the master to the end of follow nature.

appearance of still life as an independent genre in Russian art has greatly contributed to the development of portrait painting at the turn of XVII-XVIII centuries. From European artists who worked in the Armory, Russian portrait painters learned to write from life, or as they say, "with zhivstva.

This sense of interest created by an unknown artist, "Portrait Vasikova" made in the tradition of parsuna. Master specifically pushed the figure of a model the edge of the blade to the audience were clearly visible objects, arranged on a table. Most likely, the artist deliberately chose this track because if a closer look a still life carefully, you will notice: the artist has shown the things that characterize a person suffering from addiction to alcohol. On canvas - cask of wine, a stack, a plate of pickles. Some researchers have suggested that the portrait depicts clerk Alex Vasilkov, known for his drunkenness, others believe that it is one of the members' vseshuteyshego cathedral "and objects on the table - the attributes of a gay rituals, invented Peter I.

Things, presented by the portraits of the XVIII century, helped the authors to characterize the model. Known story of how Peter I sent the gentleman IM Golovin to Venice to learn the shipbuilding business. When he returned, Golovin honestly king because of his laziness had learned abroad "to play the bass" and nothing else is learned. Peter ordered all called lackadaisical student Prince Bass and ordered to write his portrait, which Golovin was portrayed in an environment various musical instruments. Mathematical and other instruments of the exact sciences artist showed dumped in the distance as the unnecessary deaths, mostly whose vocation - "to play the bass." Contemporaries were told that Peter was very pleased to be satisfied by his order a portrait.

Items attributes Painters continued to include portraits and at the beginning of the XIX century.

Only in 1730-1740-ies have appeared this easel still lifes. The names of artists working in this genre: GN Teplov, T. Ulyanov, PG Bogomolov. Many of the works are anonymous. Currently, most of the still lifes created in the XVIII century, is stored in the Hermitage, the Ostankino Palace and Museum in Kuskovo. The appearance of such works has been associated with the reforms carried out by Peter I in the field of education. Still Life in Russia at that time engaged in those painters who could not express themselves in more complex genres (historical, landscape). Among natyurmortistov There were many women (in the programs of Peter artistic vocational schools for girls, an important place was given to drawing lessons). And such a talented artist still life, as heat (by the way, is well proven in other genres) in later became Secretary of State Catherine II, he worked for himself, and not in order. He wrote to the president of the Academy of Fine Arts: "I've never been a painter, and feared not be add-on, but he studied painting for one of my fun and respect thereunto Arts. Nevertheless, thermal, as well as his comrade-in-school Feofan Prokopovich T. Ulyanov not been invited to perform large-scale state orders.

very popular in the XVIII century enjoyed came from Europe to the genre of still life, "dummy". Similar works in Russian painting showed shelves of books and various items hanging on the wooden wall. Spread were also still lifes such as vanitas ("vanity cuet). Still Lifes, "dummy" made in order to mislead the viewer, to make him accept a portrayal of reality. These still lifes are not inserted into the frame - they should look as natural as possible.

To the viewer with a desire to touch the items presented at the "dummy" Artists painted poluopuschennye curtains, bent corners of sheets of paper. Fragments of the inscriptions encourage people to reach out and draw back the illusory curtain, to read the whole phrase. Masters skillfully used chiaroscuro, carefully wrote out an invoice for such items still lifes, trying to make them tangibly real. With the glare of light transmitted shiny glass and metal.

great skill in creating still lifes, "bogus" reached GN Teplov and T. Ulyanov. Most often, they portrayed the plank wall, on which were traced swirls and veins of the tree. On the walls are hung or plugged for nailed tesemochki variety of items: scissors, combs, letters, books, music books. On narrow shelves apart watches, inkwell, bottles, candlesticks, dishes and other small favors. It seems that a similar set of objects completely random, but actually it is not so. Looking at such still-lifes, one can guess about the interests of artists engaged in making music, reading, fond of art. Masters lovingly and painstakingly painted dear to them things. These paintings are touched by its sincerity and directness of perception of nature.

Many still lifes, "dummy", despite the fact that their main task was to introduce the viewer into thinking have undoubted artistic merit, especially noticeable in museums, where the hanging on the walls, such compositions, of course, can not deceive the public. But there are exceptions. For example, "Still life with books" made PG Bogomolov, inserted into an illusory "bookcase", and the visitors did not immediately realize that this is just a picture. Very good, "Still Life with Parrot" (1737) GN Teplova. With clear, concise lines that go into soft, smooth contours, light and transparent shadows, the subtle color nuances of the artist shows a variety of items hung on a wooden wall. Masterfully transferred wood, bluish, pink, and yellow hues that help create an almost real feeling fresh smell just vystrugannogo tree.

Russian still life, "dummy" XVIII century suggests that the artists were still not enough ably convey space and volume. More important for them to show the texture of objects, as if carried on the canvas of reality. In contrast, from Dutch still life, where things are absorbed by the light environment are depicted in unity with it, in the paintings of Russian masters of subjects drawn very carefully, even petty, live as if by themselves, regardless of the surrounding space.

At the beginning of the XIX century a major role in the further development of still life has played a School AG Venetsianov who spoke out against the strict separation of genres and tries to teach his students a comprehensive view of nature. Venetsianovskaya School opened a new genre for Russian art - interior design. The artist shows a variety of facilities noble house: living room, bedroom, office, kitchen, classrooms, human, etc. In these works, an important place pictures of various subjects, although the still life itself is almost no interest Representatives Venetsianov circle (at least, there is still very little still-lifes, made disciples of the famous painter). Nevertheless, Venetsianov urged his students scrutinized not only the faces and figures of people and things around them.

subject in painting Venetsianov is not an accessory, it is inextricably linked with all details picture and is often the key to understanding the image. For example, perform a similar function sickles in the film "Reapers" (second half of 1820, the Russian Museum, St. Petersburg). Things to venetsianovskom art seem involved in a leisurely and tranquil life characters.

Venetsianov Although, in all probability, not to write their own still lifes, he turned the genre into its learning system. The artist wrote: "Inanimate things are not subject to the various changes, koi are peculiar objects animate, they stand to keep the inexperienced artist still, motionless, and give him time, more accurate and sensible to grasp, to peer into the relationship of one part to another as in the lines, so in the light and shadows by color koi depends on the place occupied by the subjects. "

course, still life and played a major role in the educational system, Academy of Fine Arts in XVIII-XIX centuries (In the classroom students to make copies of the Dutch masters of still-life), but it Venetsianov, encourages young painters turn to nature imposed in its program the first year of teaching still life consisting of things such as plaster figures, tableware, candlesticks, colored ribbons, fruit and flowers. Subjects for training still lifes Venetsianov selected so that they were interested in the young painter, clear in form, beautiful in color.

's paintings, created by talented students Venetsianov things submitted is true and fresh. These are still lifes K. Zelentsova, PE Kornilov. In the work venetsianovtsev There are works that essentially are not still-life, but, nevertheless, the role of things in them is enormous. Include, for example, the paintings "The Cabinet of Isles" and "Reflection in the Mirror" GV Magpies kept in the Russian Museum in St. Petersburg. Still life in these works are not acting independently, well-assembled as a kind of master of interior parts, corresponding to the overall composite and the emotional order of the picture. The principal interface element here is light, gently rolling from one subject to another. Looking at paintings, you realize how interesting the world around the artist, lovingly depicting each object, each very small little thing.

Still Life submitted in the office at the Isles', though takes a little place in the overall composition, it seems extraordinarily high, distinguished by the fact that the author is fenced off from the rest of his high-backed sofa, and left and right cut off the frame. It seems that forty is so carried away by lying on the table objects that had almost forgotten about the other details of the painting. Master carefully wrote out everything: the quill pen, pencil, compass, protractor, a penknife, scores, sheets of paper, a candle in a candlestick. Point of view at the top allows to consider all things, none of them does not block another. Attributes, such as the skull, watches, and characters' earthly vanity "(statue, paper bills), allow some researchers to classify the type of still life vanitas, although this coincidence is purely accidental, most likely, land artist used the fact that lay on the table of his master.

renowned master of subject compositions of the first half of the XIX century was the artist IF Khrutsky, who wrote many beautiful paintings in the spirit of Dutch still life of the XVII century. Among the finest of his works - "Flowers and Fruits" (1836, Tretyakov Gallery, Moscow), "Portrait of a woman with flowers and Fruit "(1838, Art Museum of Belarus, Minsk)," Still Life "(1839, Museum of the Academy of Fine Arts, St. Petersburg).

In the first half of the XIX century in Russia great popularity, "Botanical Still Life", came to us from Western Europe. In France at that time out works of botanists with beautiful illustrations. Better known in many European countries was an artist P.ZH. Fort, which was considered "the most famous painter colors of his time. " "Botanical Drawing" was a significant event not only for science but also for arts and culture. Similar figures were put forward as a gift, decorated albums, and thus put them on a par with other works of painting and drawing.

Hyundai Coupe Radio Removal

history of still life (Part 1)


history of still life (Part 1)


site - http://shursha.com

Still Life - a genre of fine arts, as well as the product of this genre, showing the inanimate objects (dishes, and other household items, fruits and vegetables, various victuals, battered game, bouquets of flowers, the attributes of an activity, etc.). Translated from the French nature morte mean "Dead nature".

elements of still life first emerged in ancient rock paintings, which depicted things had ritual significance. Diverse objects can be seen in the paintings of Egyptian tombs. Tremendous interest in the world of objects exhibited artists of ancient times. Although easel paintings, executed Ancient Greek painters, have reached us a little, from written sources it is known that in ancient Greece were extended still life, "dummy" written with a view to not only demonstrate mastery of the author, but to mislead viewers. Artists sought such an illusory image similarity with nature, that such patterns and in fact could deceive the public. One of the ancient writings testifies: painter Zeuxis so convincingly written the grapes that birds tried to peck berries. Once a famous artist and he was caught at the bait of his colleagues Parrasiya, draw the curtain that Zeuxis tried to draw back.

not inferior to the Greeks in their mastery of the ancient Romans. So, on the wall of ancient Roman city of Herculaneum, destroyed I century AD eruption of Vesuvius, was found fresco, representing the real still-life. With great skill the artist depicted a sprig with fruit and a glass vessel with water on the thin walls of which are light textures.

The Hermitage collection is stored samples of the mosaics of ancient Rome. One of them, having regard to the line I-II century AD, was found in 1740-ies near Avetinskogo hill in Rome. Such mosaic composition, framed by ornamental pattern, called emblems. The emblem, made of colored pieces of marble with addition of smalt, shows the attributes of Hercules - a club, cup Wine and mask of the hero, made of dark stones. In the lower part of the composition shows a pair of wild boars, harnessed to a cart with a bright red carpet. The front end carts - three apples. This is probably mythical golden apples that can give a person eternal youth. Hercules stole them from the garden of the Hesperides nymphs on the orders of King Eurystheus. Wild boar is also the dedicatory animal Greek hero who took his place in Roman art.

creating mosaics, Roman master, most likely, was guided by a picturesque pattern, possibly a wall painting, which is a still life composed of subjects home utensils and eatables. Such compositions have been distributed in Roman art at the time. Occurred and the frescoes showing the cart with the attributes of the gods. For example, in a house in Pompeii Vettii found painted with images of the two goats, pulling a cart with the attributes of Dionysus, and the ram with the attributes of Hermes.

Still life before and at the Roman mosaic "June", laid out in colored glazes. The composition shows a little barefoot boy, who personified In ancient Rome this summer. Over his curly head of the viewer sees the Latin inscription "Junius" - June. The artist who created this work, sings generosity of the earth and fertility of the summer. In the right hand of the child - a basket of onion (obligatory dish on the table the Romans from ancient times). Scientist Mark Terence Varon, who lived in the I century BC, wrote: "By the breath of our grandfathers and great grandfathers smelled garlic and onions, but their spirit was the spirit of courage and strength."

In his left hand the boy-June holds a tray with fruit. Fruits are piled in a large basket near the table. On a low table on the right are two large fish, and the third fell at the feet of the child. Gifts Sea can be seen in the left side of the canvas. The Romans were very fond of seafood, and famous philosopher Seneca wrote that because of his gluttony, they are constantly were ready "to scour the depths of the sea and pull the shell in an unknown shore farthest sea."

colorful mosaic of wealth for many Ages delights the audience. Not lost its freshness and brightness of the red apples lying on a blue tray, fish scales poured yellow, brown, red, blue and green hues. The figure of the boy in the ocher-orange tunic and all objects of still life expressive allocated to light-yellow background.

In XV-XVI centuries, still life was spread mainly as part of a pictorial composition. As an independent genre, he finally formed in the XVII century in Holland. Here, still life was especially loved and revered. The Dutch called it is not nature morte ("dead nature"), and stilleven, which means "quiet life". In this title reflected a love and reverent attitude of Dutch artists to the wonderful world of things.

But the interest in still lifes appeared in Dutch painting much earlier. Artists were injected into an environment of religious scene details such as flowers, fruits, vessels. These items helped to bring the image of something earthy, bright and happy. So, Ios van Cleve (1464 - ca. 1540) in the composition of the Madonna and Child with Joseph "(the Hermitage, St. Petersburg) has shown on the parapet, close with bare feet baby Jesus, a sliced orange and a small knife with a pearl handle. There also is a flowering branch of aquilegia. And if such a detail, a clove in the hands of the Virgin Mary, has a symbolic meaning, the other items presented on the canvas with a single purpose - to decorate the picture.

Many Dutch painters XV-XVI centuries, seeking to make the image more convincing, have paid great attention to the things surrounding the person. For example, the famous Dutch painter Quinten Masseys (1465-1530), who performed in 1514 his famous painting "I was with my wife" (Louvre, Paris), carefully ordered items arranged on a table in front changer and his wife: a small mirror, silver coins, a prayer book with vivid miniatures and other things.

Similar pictures characters which were money-changers and tax collectors, are widespread in the works of followers Masseysa. Artist Marinus van Reymersvale (ca. 1493 - ca. 1570), who wrote the canvas "tax collectors" (Hermitage, St. Petersburg), focuses not only on the appearance of characters (the master gives a very accurate description characters), but also on things on the table. The viewer sees the coin, a thick book in which one of the collectors records, a knife, and print. On the shelf are candlestick oplyvshim with candle box, and a variety of professional attributes.

Nevertheless, these still lifes in the works of artists XV-XVI centuries did not play independent role. They are subject to domestic subjects and serve as complements to the images of human figures.

Appearance actually still life associated with the name Peter Arts. It was his most researchers considered the founder of this genre. Before the advent of products Aartsen can speak only about the rise in the number of subjects in religious and household compositions. In the work of this master, and his younger compatriot Joachim Beykelara (Ca. 1530 - ca. 1573) is dominated by images of fish and meat stalls, where the emphasis shifted from the human figure in a variety of victuals, spread out on foreground. Tradition of still life painting Aartsen were developed in the art of Flemish painters, in particular F. Snyders.

interest in the topic shops displayed, and the Dutch painters, but their songs seem more modest by comparison with luxurious and striking works of Snyders. Such painting "Fish Shop", written by one of the followers or students of Arts. The viewer feels that the passion for the transfer of the decomposed on the table eatables (seafood, various vegetables and fruits) prevailed over the desire to describe people engaged in food choices.

Theme shops found reflected in the works of Dutch masters of still life of the XVII century. In ermitazhskoy collection is kept painting by an unknown artist, dubbed "Fishmonger." The author shows the viewer two plans, in which both the action unfolds. Figures of the seller and women customers are at the table with the expansion of victuals: vegetables, large and small fish, Game. And right at the bottom of the composition, through the doorway you can see the interior of the room, which extends the action: the mistress, returning the products of the shop, began to prepare dinner. On the table is all bought it. The walls of houses are decorated with landscapes. Owner of the house, gleefully greeted the dog enters the room. Two parallel plan seem unrelated, and the transfer of the prospects for an artist - Still a difficult task. In contrast to the still-life paintings of the XVI century "Fish Shop", performed by masters of the XVII century, is devoid of brilliance, its flavor tends to be uniform tonality.

Tradition Pieter Aartsen were picked up by other Dutch masters of the XVII century - Christoffel Peytlingom (1640 - after 1670). In a free manner performed his song "The cook at the table with the game" (the Hermitage, St. Petersburg), where broken game on the table is written in a range of brown shades.

Already at the end of the XVI century in the works of artists of the Netherlands, new motives. In watercolor compositions of this time, you can see flowers, fruits, colorful butterflies and other insects. Beauty of the world have sought to convey in his works of the so-called scientific naturalism, which emerged by the end of the XVI century. Among them was a Dutch master George Hufnagel (1542-1600), famous for his illustrations to the works of scientists. Gone century, and his drawings, extremely accurately to the flowers, fish, birds, amphibians and mammals, naturalists subsequent generations continued to study structure of plants and animals. Hufnagel create a watercolor paintings with motifs of flowers and fruit in the XVI century was not yet.

In the XVII century painting natyurmortistov new themes. "A little breakfast," "Snack," "Set the table", "Little banquet," "Bouquet" - are affectionate and harmonious names given to their Dutch masters paintings. In no other country on the planet painters did not pay much attention image inanimate world. Anywhere except in Holland, do not enjoy such popularity paintings featuring flowers, fruits, vegetables, dishes.

in the artistic environment was set specialists who created it still lives, and thanks largely to the efforts of these artists there was a further development of realistic painting.

Holland XVII century, freed along with the other provinces of the Northern Netherlands from English rule, has taken a leading role in cultural life Europe. Such a situation facilitated by the fact that the Catholic Church, first did not allow people to breathe the Netherlands, finally stepped aside under the pressure of Calvinism, the installation of conquering earthly goods. This interest in the real world contributed to the development of many genres, including still life.

moved forwards and science. Craze imported from other countries curiosities, exotic plants, birds, animals, spurred to the development of science. In Holland, as well as in many European countries, there were the botanical gardens, zoos. Began to publish works of scientists, Illustrated Atlas, devoted to the world of plants, animals, birds and insects.

Dutch science came in first place in the world. Printed in the country, the book costs among readers in many European countries. To enroll in Leiden and other universities in Holland, came to the young people from all over Europe.

Large attention was paid in the country not only natural and physical sciences, but also painting, facing the surrounding reality. The paintings of Dutch artists along with Game and Fish asleep, you can see live birds, animals and insects. Just because the name "stilleven", which appeared after 1650, rather than the expression "Nature morte" ("Nature Morte"), captures the essence of works created by painters of Holland. Significant place in their canvases occupy vegetables, fruits, as well as objects created by man: porcelain, glass, metal tableware, various utensils.

major role in shaping the early Dutch still life played by such artists as Ambrosius Boshart and Balthasar van der Ast, the main themes of art which were the fruits, flowers, insects and shells. In Middelburg, where these masters lived, worked and Johannes Gudart, famous not only as natyurmortist, but as a famous entomologist. Their research in this area, he presented in the published work in 1666, followed by 150 author's drawings of plants, insects, butterflies, shown at the time of their transformations.

main themes of Dutch natyurmortistov - quiet life of things, flowers and ripe fruit, brightened up human existence. These same topics are often treated and artists in the genre. In their paintings, as well as in still lifes, influenced particular attitude, an appreciation earthly life, love and respect for the world of things.

Gradually, from still life, just fixing things, exposed before the audience and artists switched to a more subtle understanding of the subjects. Harlemskie painters Pieter Claesz and Willem Claesz Heda created a modest "breakfast" with a simple set of blunt subjects. This is a fresh golden buns, pewter plates and dishes, glass jars and goblets, painted in muted colors.

Similar works, and "kitchen" still life with a few fish, such as Rotterdam in the compositions of artists Peter and Willem de Pyuttera Orme, reflected the puritanical tastes democratic public first half of XVII century.

Willem Orme (first mentioned in 1638, died in 1673) often worked together Adam Villartsom (1577-1664). The first is usually portrayed fish catches, the second - seascapes. Joint work of artists was characteristic of Dutch painting XVII century. It is known that the painting "Fish on the beach" Villartsu Orme and helped create a third master - Hemskerk inscribed in track shape people. This is probably why part of the picture seem a little unrelated.

significant role in the development of Dutch still life played the famous portraitist Frans Hals, who in his early work has paid great attention to the world of objects, as evidenced by the beautiful images of dishes on his paintings, executed in the first quarter of the XVII century. Later Hulse left the detail in the transfer environment by giving all their attention on the characteristic rights.

In the tradition of tonal still life worked a number of Amsterdam's painters. Rembrandt, who wrote in the early period of his life painting Imaging scientists, introduced in the composition of a variety of attributes - books, globes, etc. While living in Amsterdam, the great Dutch artist created, and several these still-lifes who have been a model for his students and followers.

"Breakfast Amsterdam natyurmortistov close to the works of masters from Haarlem, but differ in the warmer colors. For example, the painting "Breakfast" (the Hermitage, St. Petersburg), made by Jan Yansom track (ca. 1606-1652) written in a single tone and is very similar to the paintings and Claes Kheda, but its flavor tends to be greenish-gray tones, while the latter sought to use gold and olive tones.

tonal still life writing and the Leiden artist Francis Geysbrehts. Dates of birth and death is unknown, and paintings save a little. But the extant work, despite the compositional simplicity and modesty of the things depicted in them are astonishingly elegant.

This is "Still Life", which is stored in the Hermitage collection. On the canvas viewer sees a lot of items. Here, cheese, bun, a jar of wine, bottle, large fish with iridescent blue-silvery scales, a bunch of green onions, hanging from a jug. Cool colors and sharpness of contours - are the main features of the brushwork Geysbrehtsa.

particular type of still life in the art of Holland were paintings of meat carcasses. Such works created at the initial stage of his career, Rembrandt. In this genre worked harlemskie artists - brothers, Adrian (1610-1685) and Izakov (1621-1649) van Ostade, wrote the web Sarah with children playing '(The Hermitage, Saint-Petersburg).

In Rotterdam, was designed "kitchen" still life that represents the image inner space of the peasant house with household utensils laid out on the floor. Usually artists are placed in the track a human figure - The hostess, dressed in a modest peasant dress. But all attention was directed not at her, but on things. Utensils (pots, bowls, barrels, wooden tubs, pots) Wizard written out very carefully and with great skill.

Similar work was performed and Flemish painters, in particular D. Teniers and A. Brouve, but Dutch painting more calm and contemplative. Kitchen still lifes are in the works of F. Reykhalsa who worked in Middelburg and Dordrecht, as well as heritage Rotterdam artist Herman Saftlevena Younger (1609-1685). Among recent works are widely known painting "Interior of a peasant hut" (1634, Hermitage, Saint-Petersburg). The wizard does not deviate from accepted traditions in the interpretation of images and highlights the numerous objects of peasant utensils. In fact, as Saftleven transmits light, feel the influence of Rembrandt.

With the further strengthening of the Dutch bourgeoisie changed the requirements for painting. Simple, unpretentious still life gives way to images of things presented by hitting the luxury and richness of color. Before modest "meals" are transformed into colorful pattern in which the viewer sees the carpet-covered tables with cloths spread out on them expensive items. Here, dishes from Delft earthenware bowls Chinese porcelain, golden orange, pale yellow peaches, covered with dew clusters of grapes, the transparent glass of wine glasses, shiny gilt Cups, reflecting in its smooth surface flowing out of the window light. These elegant still life with great skill carried Willem Calf, Abraham van Beyer, Hendrik van Strack.

In the second half of XVII century the immense popularity began to use lush bouquets of flowers, the beauty of highlighting sheen gilt vessels and white porcelain dishes with Decomposition of summer fruit. Around the same time, there were the first hunting still life with a bat game. Such patterns suggest that one of the main entertainment of rich bourgeoisie of that time was the aristocratic class - hunting. Thus, development of still life depended on changes in lifestyle and tastes of society.

Almost every major Dutch city appeared a type of still life. Thus, in the booming Harlem has formed tonal still life, and in Amsterdam, the main center of cultural and economic life of the country, successfully used the "dessert" J. van Strack and V. Calfee, which replaced a modest "breakfast" Claes P. and VK Kheda. Living near Sheveningenskogo coast, in the Hague, A. van Beijeren turned to still life with fish. And in Leiden is famous for its university, developed vanitas still life with hourglass clock and the skull. The purpose of these compositions - to remind the viewer of the transience of earthly existence, raised doubts about his place in life. It was in Leiden was established set of paintings depicting scholars in an environment of books, pens, globes and other attributes of the science, often occupy the entire space the first plan.

These students have written works by Rembrandt, Gerard Dou and Gerbrandt van den Ekhaut (1621-1674), who testified on his canvas "The Scientist in the cabinet" (Hermitage, St. Petersburg), the old man is behind a desk. Interestingly composition solution of this picture. Draw back the curtain for the audience sees a small room with lots of books. They lie on a table, shelf or even on the floor. Light from the window illuminates a large open volume, the map on the wall, face of the scientist in whose eyes visible hard work of thought.

picture on a similar topic has performed and harlemsky master Thomas Weik. But the composition solution his paintings, "The scientist in his office" is somewhat different. Figure of the scientist artist moved into the space. The entire foreground is filled with a variety of attributes of the profession. Great books on the table and on the floor. Among them - the blood vessels and pitchers, skull and the globe. Light, snatched from the shadow of individual items creates the impression of chaos surrounding the hero. Things in a mess in the towering office, as opposed to man, calm and immersed deep in thought.

In the second half of XVII century its luxury "desserts," glorified Willem van Aalst, Cornelis de Heem, van Yurian Strack. The latter resembles the art of painting Barent van der Mera (1659 - between 1690 and 1702). At the same time in some of his paintings, Rembrandt's influence is palpable. Such "Dessert" (The Hermitage, St. Petersburg) - a terse, but very refined, and delight in its illyuzionisticheskoy conviction.

Many painters second half of XVII century, more than once appealed to his creativity to the genre of floral still lifes, as well as to compositions featuring insects. The basis of interest to these topics is the Dutch way of life that are on small plots of land reclaimed from the sea elements, grew a wide variety of plants. In an effort to make your life brighter and more colorful inhabitants of the Netherlands to take the care of their gardens for flowers and fruit. Contributed to the development of science the appearance of botanical gardens to universities. Both scholars and students could study plant life, to make a herbarium, to conduct experiments on crossing different plants.

played a significant role of Leiden University. Botany at Leiden suitable natural material collected and studied it in laboratories. The university gardens, nurturing the new varieties of flowers, fruits, tried to plant specimens brought from other countries. While in Leiden lived a famous French scientist Charles de l'Eklyuz was grown plants unknown in the Netherlands, for what it was called the "father of color."

enormous popular with the Dutch enjoyed the tulips. The bulbs of these flowers were to European countries from Turkey to the end of the XVI century. In Leiden tulips planted vast spaces, and enthusiasts began to experiment, throwing a variety of species of this flower. For rare species sometimes paying huge money. He started a real "tulip fever", killing more than one lover (so broke the famous Dutch landscape painter Jan van Goyen).

with no less attention to the people of Holland took care of fruit trees, which were created for the greenhouse. Citrus and grapes were brought in country from the colonies in the West and the East Indies.

Painters, as well as all other inhabitants of the country could not remain indifferent to the beautiful flowers and exotic fruit. Very often, they are united in their compositions, and fruit plants, flowering and ripening at different times. Sometimes to finish one canvas, the master had to wait several months.

At the same time appeared the type of still life, dedicated to the image of insects, reptiles, shown in the background of the forest or a field overgrown with tall grass and bushes. Very often in such compositions in the open air were presented to a variety of creatures, and among them - brought in to Holland from other countries. The founder of an unusual variety of still life became Otto Marseus Skrik van (1619 or 1620-1678). Artist lots traveled to Europe, he visited France, England and Italy. Back in Amsterdam, he bought a house with land, which made a terrarium. Skrik settled it has various reptiles and insects. In the wizard, there's a lot of heritage studies and sketches on snakes, lizards, butterflies. These same motifs inspired him to create paintings. Pictures Skrika very dynamic and full of movement, they show that the average person can not easily see around themselves. This is the painting "Flowers, butterflies and snakes" (the Hermitage, St. Petersburg).

Similar themes have inspired and Mathias Vithoza (c. 1627-1703), who visited in Italy with Skrikom. Since 1653 he has lived in Amsterdam and in 1672 settled in the Horn. But if the pictures are shown Skrika bright garden flowers, the Vithoz prefers wild prickly plants, among which takes a mysterious lives of animals and insects ("Flowers, a hedgehog and a frog", 1660, the Hermitage, St. Petersburg). The artist carefully and very eloquently writes of his "heroes." Colorful wealth of tracks makes them extremely attractive for the spectators.

Flower motifs drawn by Dutch artists for a long time. This type of still life, formed in the first half of XVII century in the works of Ambrosius Bosharta and Balthasar van der Asta, found its completion in the painting by Jan Davids de Hema, Justus van Heysuma and his son Jan van Heysuma - famous wizard late still life.

lush gardens devoted set of colors of his paintings Abraham Mignon (1640-1679), German painter, who worked in the Netherlands, in Utrecht. In fact, as drawn flower bouquets in the compositions of Mignon, felt fine artistic taste and an extraordinary coloristic mastery ("Flowers in a vase, the Hermitage, St. Petersburg). Decorative and colorful paintings with their beautiful enamel surface delights the audience. The modern researcher Lorenz pain, admiring the artist's masterly ability to transfer not only plants and fruits, but also animals, insects, birds, wrote that his paintings - a "spectacle where you can open a lot. " Such cloth "Fruits" (Hermitage, St. Petersburg), depicting flowers, vegetables, fruits, berries, birds, butterflies, lizards and frogs. Here you can see a bunch of freshly caught fish and bird's nest with whitening in it eggs.