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Olga Potekhina
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Odessa, Ukraine, 45 year collector
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«Думаю, глядя на картину Лизы Рэй "Колодец желаний :) загадывать? или хватать ведро? http://artchive.ru/users/1603/collections/556/works/3719»
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ИСКУССТВ-енный разум, арт-журналистка
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Лекции, встречи, круглые столы и другие арт-события
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Passions often run high in the world of art. Many artists are temperamental and emotional, and various fans and critics closely watch their every move, almost leaving them no privacy. Sexual relationships are subject of heated discussions, any model turns into a mistress in the eyes of laymen, and even an ordinary portrait can become a reason for scandal.

Olga Tanina
, 15 November 2017 07:36 AM 0
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Очень понравилось!
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Национальная галерея в Лондоне вынуждена оправдываться за включение скандальной картины «Спаситель Мира» в ретроспективу Леонардо да Винчи 2011 – 2012 годах. Критические замечания высказал в своей новой книге «Последний Леонардо» писатель Бен Льюис. Он подверг сомнению честность атрибуции и привёл мнения специалистов, которые считают, что картину частично писали ученики мастера. Льюис также…

Pavel Dyatlov
, 19 April 09:16 AM 0
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Доверяю авторитетному мнению сотрудника ГМИИ им. А.С.Пушкина, Виктории Марковой.
Это не работа да Винчи. Другой вопрос, теряется ли при этом эстетическое восприятие картины и ее художественная ценность.
Viktor Tsvetkov
, 19 April 04:14 PM 0
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я могу доказать, что эта картина не Леонардо, а его ученика. Эксперты все куплены, навар огромный, они друг за друга как мафия...
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Olga Potekhina
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Jan van Eyck. Portrait of Arnolfini couple
Portrait of Arnolfini couple
Jan van Eyck
1434, 82×60 cm
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Ilya Efimovich Repin. Portrait of the pianist S. I. Menter
Portrait of the pianist S. I. Menter
Ilya Efimovich Repin
1887, 107×115 cm
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Ilya Efimovich Repin. Portrait of the pianist S. I. Menter
Portrait of the pianist S. I. Menter
Ilya Efimovich Repin
1887, 107×115 cm
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«Дорогой Василий Дмитриевич! Я думаю, что тебя не особенно интересует теперь Петербург с его «сутолокой», ты и всегда был до него не охотник, а потому я и не писал тебе никаких подробностей, я боялся даже как-нибудь рассердить тебя своим гимном Петербургу, который я готов петь ему всякий день. Да, брат, никогда еще Петербург мне так не нравился, как теперь! Особенно поражает меня его универсальность, - чего хочешь, того просишь. Живой, веселый, это русская Америка. Инициатива всяких жизненных явлений здесь бьёт ключом, несмотря на все невзгоды...»

(Из письма Ильи Репина Василию Поленову, 5 октября 1882)

Иллюстрация: Илья Репин. https://artchive.ru/i…raltejstvo. Масло, холст. 1869.
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A girl is sitting on a bench in a serene sunny park. White collar, blue skirt and tie - in the tone of the eyes. On the face - absolutely no expression, the only shadow that can be seen on it - from the cap. There is no tension in the posture: the shoulders are straightened, the tilt of the head and the position of the arms indicate calmness and confidence. The girl has a healthy complexion and quite an athletic constitution - she clearly eats well. If it were not for the name, it would be difficult to guess that the girl is unemployed. However, even knowing the name, it is difficult to suspect that the lack of work bothers the heroine of the picture.

Obviously, the plans of Kazimir Malevich did not include either painting a private career drama, or depicting such social ills as parasitism and unemployment. The girl needed him for other purposes - with her help, he hoped to retroactively correct his creative biography.

Malevich himself dated this work to 1904. However, most experts agree that "The Girl" was written much later - directly for the personal exhibition, which opened in the Tretyakov Gallery in 1929.

Malevich tried to confuse traces. He not only indicated another year on the canvas. He - that's because the sly - also chose the "vanishing nature." In 1930, the last Moscow labor exchange will close - the USSR will declare itself the first country in the world to beat unemployment. Four years later, paintings by Malevich will be exhibited at the exhibition "Woman in Socialist Construction." Already in the 29th "Unemployed girl" seemed archaic, a plot from a past era.

Malevich did not succeed in deceiving them all. Having compared several impressionist works of Kazimir Severinovich (hisnovel with impressionism began at the beginning of the century), art critics came to the conclusion that some of them were written with a definitely more experienced and confident hand than others. They were created by a mature Malevich, Malevich who “went through” many scenic directions, Malevich, who had already composed Suprematism, an artist whose exhibition at the Tretyakov Gallery was timed to coincide with the 30th anniversary of his creative activity.

Why did Malevich need to break the chronology? Some researchers believe that for the exhibition in the Tretyakov Gallery the artist restored from memory his early work, which he left in storage in Berlin. And he dated these author repetitions over the years of creation of the originals. Malevich smelled evil and did not hope to ever see them again. To the pictures that were kept by the German architect Hugo Hering, he attached a note-will: "In the event of my death or stale imprisonment ...". Shortly after the opening of the exhibition in Moscow, he was indeed arrested as a German spy.

However, it is much more likely that Malevich - the virtuoso of auto-PRIAR - wanted to present his creative path in the form of constant movement forward. Impressionism, he saw an intermediate link, the crown of evolution considered the objectless, "zero forms". First of all, Suprematism was for him, and girls — with or without work — later. However, the ego did not allow Kazimir Severinovich to leave this creative stage as it was. Let the "past thing", let the fleeting affair. Malevich was important to prove that he not only outgrown impressionism, but also became in it the "world champion". And he with obvious ecstasy wrote girls in hats.

As befits any genius, Malevich was on a short leg with paradoxes. He created his most successful impressionist paintings, trying to disown impressionism.
Kazimir Malevich. Unemployed girl
Unemployed girl
Kazimir Malevich
1930, 80×66 cm
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