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Мало кого оставил равнодушным пожар в соборе Парижской Богоматери. Художники из всех уголков мира ответили на событие трогательными рисунками и картинами.
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First self portraitEdvard Munch wrote when he was 19 years old.Last - shortly before his death, when he was 81 years old. In total, among the artist's works there are 70 pictorial self-portraits and more than a hundred - in watercolors, drawings, sketches and engravings. To compare the scale, it is enough to remember that the most consistent and persistent self-portraitRembrandt created about 90 own images in different techniques, self-portraitsFrieda Kahlo (life itself has studied itself) - more than 50. Dürer, Van dyke, Cezanne, van Gogh,Picasso created a lot of self-portraits, but none of them - as much as Munch. Every year, sometimes for weeks and months in a row, Munch wrote himself - he examined and studied the new man who replaced the old man.

Self-portrait in 1924 "Night wanderer" - one of the most terrible. No self portrait after spanishnor evenself portrait in hell Do not make such an alarming impression. The two most eloquent elements of any portrait that the viewer is used to finding out about the person depicted are eyes and hands. Both of these elements are missing on Munch’s self-portrait. The illumination in the night room lies in such a way that instead of the person’s eyes in the portrait there are deaf dark dips. He hid his hands in his pockets or behind his back. To peer into this portrait is the same as entering a room where dark spots instead of windows and the floor level are not visible, it is not even visible whether there is a floor.

There is no time or place. Any more or less certain reference point would reduce anxiety: after the Spaniard, with brushes, with a bottle of wine, with a cigarette, against the background of the house, in the hospital, in Bergen, between the clock and the bedYes, even in hell. So, as in this self-portrait, they look in the mirror when they accidentally walk past him in a dark room - and they don’t recognize the reflection.

Munch has either a dressing gown or a warm coat. He either came, or is going to leave. He is either at home or in an unfamiliar place. In any case, this room is not a safe place. Too tight or too empty. Munch does not recognize himself and leaves no chance to learn something to the viewer. He is between the worlds, between the stages of life.

Munch wrote this self-portrait in his own villa, which he bought in 1916, 10 years before. He was treated for a nervous breakdown in a psychiatric clinic, survived the Spaniard (the Spanish flu epidemic claimed the lives of millions of people around the world), and now he is raising vegetables and fruits on the land adjacent to his house. Munk left to work only 6 years old: in 1930 there will be a hemorrhage in his right eye - and in the remaining 14 years of his life he will write very little. Almost one self-portraits. Explaining somehow the focus on his own experiences and his own personality, Munch wrote that only at first glance this may seem selfish. In fact, he believes that careful fixation of his mental states and spiritual experiences may help someone in the search for truth. Anyone who wants to go through the artist's personal hell, Edward Munch, in which mirrors show unfamiliar reflections with empty eye sockets, the room’s walls pinch a man into a ring, and a long Norwegian winter night outside the window that does not promise the day sun and will soon be replaced by the next long winter night .

Author: Anna Sidelnikova
Edvard Munch. Self portrait. Night wanderer
Self portrait. Night wanderer
Edvard Munch
1924, 90×68 cm
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In the mid-40s, Vasily Tropinin reached the peak of recognition and fame in Moscow, but at the same time, his main customers are aging, their children and grandchildren begin to order portraits to fashionable young portrait painters. Tropinin will soon begin to lose popularity. The younger generation of artists is fascinated Bryullov, imitates the southern color of his paintings, and customers increasingly want to look just as impressive as Bryullovsky Italians and Odalisks. “A self-portrait on the background of a window overlooking the Kremlin” Tropinin writes at this turning point: his popularity is unprecedented, his fame will soon predictably fade.

But while he is the main Moscow portrait painter, Bryullov himself is perplexed when the Moscow nobility orders portraits for him: “You have your own portraitist”. Tropinin writes local noblemen and merchants, their families — he sees how children grow and whole generations change. His famous homely “careless” portraits are walled by family archives and family history.

In Moskvityanin magazine, an anonymous author will write in 1849: “The great knowledge of the work and the conscientious work of the famous portrait painter V. A. Tropinin have achieved that perfect truth, which you no longer wonder and which becomes, if such an expression is allowed, artless by the ingenious naturalness of its ... High dignity, the brush of Tropinin leaves the last field aide in neglect . The distant horizon, the tree, the flower, the book at hand, the carving of furniture, the variety of fabrics, the furiness of furs — everything is filled with the strictest, charming fidelity ... But it is remarkable that, with all this finality, the whole view of Tropinin is such that the main subject does not cease to dominate above the picture and at the same time it is separated from the frame, without looking out of it as from a opened window ”.

All these fairly accurate characteristics of the Tropinin method are easy to find in self-portrait: “charming fidelity” of the details of the near and far plan, which do not suppress or overshadow the main thing - the figure of the person being portrayed. One would have thought that the artist, quite arrogantly and vainly enough, wrote his own figure against the background of the Kremlin. It would be possible if it were not Tropinin. He was a strikingly modest man who fought for personal freedom for half his life - and received his freedom as an Easter gift only at the age of 47. When in 1833 the first public art class opened in Moscow, where the poor could receive education, Tropinin began to attend him as a teacher completely disinterested. He did not take money for his teaching and did not give private paid lessons, but every sincerely interested beginning artist was ready to help with advice. Students of the Moscow class spoke of him as the most sensitive and influential teacher.

A former serf, and now a freelance artist, Tropinin led a very modest life, did not participate in secular meetings, but received at his home the most advanced and famous writers, publishers, and artists. He went out to the guests, even the most eminent ones, in an invariable work coat. Here, in the “Self-portrait on the background of a window overlooking the Kremlin,” he is in the same work coat, and not in a ceremonial suit. And if the artist was going to declare something, placing his own figure against the background of the main Moscow sight, it’s rather a blessed opportunity to live and work freely in his beloved city, the opportunity to influence the fate of Russian art and educate young artists, regardless of their wealth .

Author: Anna Sidelnikova
Vasily Andreevich Tropinin. Self-portrait on the background of the window, overlooking the Kremlin
Self-portrait on the background of the window, overlooking the Kremlin
Vasily Andreevich Tropinin
1846, 106×84.5 cm
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Edgar Degas made several drawings and etchings, which depicted Edouard Manet. Mane in a relaxed,relaxed posture orexcited and gambling - watches the races on the hippodrome. Tired mane with a hat in his hands - he ran for a while in the workshop of Degas. In 1869, Manet for the last time appears in the painting by Degas - on double portraitwhich will later be the cause of a great quarrel between the two artists. Degas writes to Mane and his wife Susanna. Mane gets a portrait - and in the hearts cuts a piece from him, dissatisfied with the result. Degas is offended and returns to Manet his still life, a friendly gift. Manet takes offense - andwrites suzanne as it should be. Biographers and critics have many versions of Man’s true motives: from envy to the skills of the younger colleague to the merciless honesty with which not the happiest couple are written.

This quarrel was not to be avoided - Degas is dangerously perceptive. Already now (on this etching and in several drawings), Mane portrays mercilessly truthfully, ignores the dendist brilliance and secular charm of his model, gets to disturbing thoughts, wounded pride, disappointment and fatigue. The 1860s are the most difficult for Man. This is the time when he was truly afraid to enter the halls of the Salon and hear the reaction of the audience to his paintings. An artist with horror opens a new magazine or newspaper and looks for reviews of his works: "Ugly canvases, like purposely made to tease the crowd", "monstrous vulgarity", "childish ignorance of the basics of drawing". He could not boast a steady faith in his art and iron immunity to criticism (unlike Degas or Monetwho saw in the criterion a sign of a true found path). Mane crushed, he is looking for support from friends and at a loss to ask for those whom he trusts.

All images made by Degas refer to this very difficult time in Man’s life. The artists met in 1861: an unknown Degas made a copy of "Infanta Margarita"Velazquez in the Louvre, and Manet, who had only recently become famous in the Salon and caused a storm of delight from young artists, approached and gave some advice. They became really close. In the group of artists who planned a revolution in painting and hoarsely arguing about contemporary art in the Gherbouhe cafe, these two were much in common and distinguished from all the others. Mane is only two years older than Degas. They were one circle: one - the son of a banker, the second - the son of an official of the Ministry of Justice. They did not know the lack of money and could paint, not worrying about whether they could pay for the house and scrape up the money for dinner. Unlike other impressionists, people from families of artisans and small shopkeepers, their survival did not depend on whether they could sell the paintings after the exhibition at the Salon. But, having refused to continue family traditions, both tried their best to prove to their parents that they would succeed in art. After they met Mane and Degas, their families also became close - they organized friendly evenings with guest musicians in one house or another. Perhaps this is where the similarities end.

And the story begins of a long friendship and mutual admiration, the story of major quarrels and inevitable reconciliations. Between two completely different people from the same social circle. Charming, beloved by all, witty and elegant, Manet, with all his heart who wanted fame and recognition. A caustic, restrained reclusive, ascetic and workaholic Degas, who was not worried about honors and who considered fame as vulgarity. The favorite of women bon vivant, windy and charming Man. And convinced bachelor, plagued models tedious posing, Degas.

Degas practically did not write other artists. In his portraits are family members, close friends (who were more often musicians, lawyers, engineers, opera lovers). He painted and painted several times just two artists from his entourage - Édouard Manet and Mary Cassat. Cassat, he considered the only artist on earth, who sees the same as he himself. Mane considered the undisputed genius, the scale of which no one could assess in his lifetime.

Author: Anna Sidelnikova
Edgar Degas. Portrait of Edward Manet
Portrait of Edward Manet
Edgar Degas
1865, 19.5×13 cm

Valeriy Malkhozov
Valeriy Malkhozov
, 16 April 05:21 AM 0
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Я на стороне Дега,хотя его истовый "стоицизм"не всем нравится.
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Claude Monet. “The Artist’s Garden at Vetheuil”
“The Artist’s Garden at Vetheuil”
Claude Monet
1881, 100.3×81.3 cm
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1 апреля исполняется 100 лет со дня основания Высшей школы строительства и художественного конструирования Баухаус. В честь этой даты дизайнеры из интернет-сообщества 99designs представили себе, как выглядели бы логотипы известных мировых компаний, если бы их создавали в стилистике легендарной немецкой школы.
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Оливия Уайлд на фоне «Маленькой 14-летней танцовщицы» Дега в проекте музея Метрополитен, в рамках которого известные люди рассказывают о своих любимых экспонатах. «Я люблю эту скульптуру с самого детства, но не знала об истории ее создания, что Мари была исключена из балетной школы Парижской оперы за пропущенные занятия в то время, пока она позировала Дега», – призналась актриса.
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