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Encyclopedia of Symbols
Symbols in art: What’s there in the mirror?
Once, man conquered his fear of his reflection in water — and wanted the phantom to linger on. He tried different media, such as bowls of water or polished surfaces, experimented with tin and other materials. As a result of centuries of trial and error, we can now see ourselves at any time around the clock, and the mirror no longer seems a mysterious and sinister object, but quite an ordinary…
Selling and auctions
Monet's “Haystacks” became the most expensive artwork of Impressionists
Monet's "Meules" Sells for Astonishing $110.7 Million
Paintings starring on screen. Top-5 canvases that played impressive parts in movies
Paintings look good not only on the walls of galleries, but also on the silver screen. Sometimes they are used simply to decorate the interior, but sometimes the entire plot develops around them, and these are works of art that help us better understand the characters or even predict the ending. The titles of such paintings should appear in the credits, next to the names of superstars. Sounds…
In Its Own Genre: 5 Best Books About Impressionism
We have selected 5 best books written in different genres, at different times, with different research goals – so that you take a convenient approach to Impressionism and really understand everything.
Touches for the portrait: 9 curious stories about Kazimir Malevich
Ever unmercenary natural-born leader, master of the outrageous, a world celebrity, a talented liar and a real street fighter – strangely enough, all this is about one person.
When the eye is really faultless
A lot of artists tied themselves in knots trying to emulate Kuindzhi's palette. Speaking of the painting Ukrainian Night, Kramskoy wrote in a letter to Repin: "I'm a complete fool in front of this painting. The lighting on the white hut is so realistic that it tiresome for my eyes to look at it, as if it is real..." But the secret of Kuindzhi's palette was easier than it seemed. One day Kuindzhi (who was teaching at the Academy of Arts at the time) invited his friend Dmitry Mendeleev to his class. The latter brought a device estimating the spectral sensitivity of the human eye. Kuindzhi was far ahead of his young students in this indicator. He saw in a different way. Not in terms of creativity, but in the most literal physiological sense.
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