MyCity kviz - Da li vam je poznato ovo umetničko delo

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Antonio Polaj(u)olo, Herkul (Herakle) i Hidra, oko 1475.godine, tempera na drvetu, Galerija Ufici, Firenca.
http://commons.wikimedia.org/wiki/File:Hercules_an.....laiolo.jpg
http://en.wikipedia.org/wiki/Antonio_Pollaiuolo

Citat:This small panel, the companion-piece to "Hercules and Antaeus", refers to three panels representing the Labours of Hercules which Antonio del Pollaiuolo painted for Lorenzo de' Medici around 1460, lost works we know about only from later versions.

Here too is represented a ferocious fight between the hero, his body tensed into an agile, muscular mass and the legendary multi-headed monster. The outlines are very sharply defined, and the movement of nerves and tendons observed down to the last detail. Antonio del Pollaiuolo worked at time when thorough studies of anatomy were being made, and he therefore renders the human body realistically in its moments of greatest emotional excitement.

The dramatic force of the episode is expressed in the hero's grimace of fatigue and horror, but also his certainty of victory. Behind the proudly barbaric figure blue rivers meander through a broad landscape of green and brown fields, the sky above an enamel blue.
http://www.wga.hu/frames-e.html?/html/p/pollaiol/antonio/hydra.html

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Jeste Tuzore, on je.
Citat:
Антонио ди Јакопо Полајуоло или Полајоло (итал. Antonio di Jacopo Pollaiuolo, Pollaiolo, 1429/1433 — 1498-), је италијански сликар, вајар, графичар и златар из епохе Ренесансе.

Учио је сликарство са Паолом Учелом, вајање са Донателом, а учио се сребрарском занату са Лоренцом Гилбертијем. Радио је најчешће заједно са братом Пјером Полајуолом. Њихова дела показују интерес за класичне узоре и људску анатомију. Сецирали су лешеве да би научили да реалистичније представе људски покрет и напор. Њихова уметничка радионица у Фиренци је сматрана за најбољу радионицу своје епохе.

Сачувана је само једна његова графика, Борба голих ратника, али она представља једно од најзнаменитијих ренесансних уметничких дела.

У цркви Светог Петра у Риму пројектовао је и осликао гробнице за папе Сикста IV и Иноћентија VIII.

sr.wikipedia.org/wiki/%D0%90%D0%BD%D1%82%D0.....0%BB%D0%BE


Idemo dalje na nove radne zadatke.

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Joooooooj, ne pominji mi radne zadatke, još me leđa bole, iako (kao što ti je poznato) nisam bio na svom radnom mestu.

Holandski umetnik, isprva poznat po podražavanju Karavađovog stila. Kasnije je navedeni stil nadogradio i oplemenio svojim autorskim pečatom, postajući prepoznatljiv po specifičnom "osvetljenju" svojih dela, sa osnovom u oštrom kontrastu svetla i tame (poznat u svetu umetnosti po svom italijanskom nazivu).

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Gerit van Honthorst, Ruganje Hristu oko 1617.

http://collectionsonline.lacma.org/mwebcgi/mweb.ex.....3;type=101

Reč dve o utrehtskim karavađistima:

Citat:A term applied to a number of Dutch painters active in Utrecht who were strongly influenced by Caravaggio's work and who in the 1620s made their city the chief centre of his style in northern Europe. The three main artists covered by the term are Baburen, Honthorst, and Terbrugghen, each of whom had lengthy stays in Rome.
...
Utrecht was the main Dutch centre of Catholicism at this time, and all these artists painted religious subjects; their other staple was genre scenes, typically featuring gamblers or musicians.
..
However, these artists exerted a lasting influence, for they ‘introduced one of the main currents of Baroque art into the Netherlands. Even the greatest masters of seventeenth-century Dutch painting, who were never in Italy—Hals, Rembrandt, and Vermeer—received decisive impulses from the Caravaggesque style’
http://www.enotes.com/oxford-art-encyclopedia/utrecht-caravaggisti

I bonus linkovi :
http://en.wiktionary.org/wiki/tenebroso

http://en.wikipedia.org/wiki/Tenebrism
http://en.wikipedia.org/wiki/Chiaroscuro

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Jeste Gerit.
Osnovnim i bonus linkovima pridružujem još tri:
http://commons.wikimedia.org/wiki/File:Gerrit_Van_.....Christ.jpg
http://www.wga.hu/frames-e.html?/html/h/honthors/1/032mocki.html

Citat:The Roman abuse and mockery of Jesus pictured by Honthorst is the second account, which takes place after Pilate sentences Jesus to death. The soldiers ironically mock what Jesus truly is: the messiah king. Raymond Brown, S.S., in his magisterial commentary The Death of the Messiah, records several historical parallels in Jesus’ time of other condemned prisoners being dressed in royal robes, then stripped, spat upon, scourged and killed.

In the Honthorst painting, the taunting guards look like ordinary twenty-something Dutch males today. The artist resisted demonizing the guards or making them brutish buffoons or grotesque caricatures, as Hieronymus Bosch does in his famous “Mocking of Christ” at the National Gallery in London. Rather than being, as such, especially sadistic, they were merely following the relatively routine cruel punishments of their day. Honthorst also shows Christ as vulnerable. Some famous paintings of the mocking (for example, Anthony van Dyck’s at the Princeton Museum of Art) show Jesus seemingly unmoved in his inmost being by the mocking. But the very essence of being a prisoner is to be vulnerable and perhaps even to doubt, at times, one’s own very self.
http://www.americamagazine.org/content/article.cfm?article_id=11544

Izvoli, Jelkice!

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Čuveni mozaici!

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Dvor carice Teodore (Carica Teodora sa pratnjom/svitom) i Dvor cara Justinijana (Car Justinijan sa pratnjom/svitom), kao autor navodi se "majstor iz San Vitalea" (zanimalo bi me ima li kakvih podataka koji ukazuju na autorstvo), Bazilika San Vitale u Raveni.

http://commons.wikimedia.org/wiki/File:Theodora_mosaik_ravenna.jpg
http://commons.wikimedia.org/wiki/File:Meister_von_San_Vitale_in_Ravenna_003.jpg

Citat:At the foot of the apse side walls are two famous mosaic panels, executed in 548. On the right is a mosaic depicting the Emperor Justinian, clad in purple with a golden halo, standing next to court officials, Bishop Maximian, praetorian guards and deacons. The halo around his head gives him the same aspect as Christ in the dome of the apse. Justinian himself stands in the middle, with soldiers on his left and clergy on this right, emphasizing that Justinian is the leader of both church and state of his empire. He also holds a paten and is seen with a three day beard to show that he was too busy to shave since he was performing his duties as emperor.

The gold background of the mosaic shows that Justinian and his entourage are inside the church. The figures are placed in a V shape; Justinian is placed in the front and in the middle to show his importance with Bishop Maximian on his left and lesser individuals being placed behind them. This placement can be seen through the overlapping feet of the individuals present in the mosaic.

Another panel shows Empress Theodora solemn and formal, with golden halo, crown and jewels, and a train of court ladies. She is almost depicted as a goddess. As opposed to the V formation of the figures in the Justinian mosaic, the mosaic with Empress Theodora shows the figures moving from left to right into the church. Theodora is seen holding the wine.
http://en.wikipedia.org/wiki/Basilica_of_San_Vitale

Citat:U crkvi San Vitale s obe strane oltara nalaze se raskošni mozaici (Car s pratnjom i Carica s pratnjom) koji simboliziraju i odražavaju moć i slavu carskog dvora. Oni prikazuju Vizantijski ideal lepote: - visoke istanjene figure, izduženih glava sa velikim očima, povijenim obrvama, dugog i tankog nosa, malih usta, malih stopala u odnosu na veličinu tela, te raskošno dekorisane odeće. Svaka scena je lišena pokreta. Likovi na tim mozaicima su tipizirani, statični, velikih očiju, a pozadina je zlatna (nebo je uvek boje zlata u ranom hrišćanstvu).
http://sr.wikipedia.org/sr-el/%D0%92%D0%B8%D0%B7%D.....1%81%D1%82

Citat:The most famous mosaics in San Vitale are the pair of mosaics representing the Emperor Justinian and the Empress Theodora. These appear in the apse adjacent to the apse mosaic representing Christ in Majesty. Justinian is shown carrying a paten, or bowl containing the Eucharistic bread, while Theodora carries the chalice or vessel for the Eucharistic wine. Maximian carries a cross, while a tonsured priest carries the Gospel book. These figures are preceded by another priest swinging an incense burner. The direction of these mosaics from west to east or towards the apse suggests both the bringing in the Eucharistic elements into the church and their presence as gifts to be offered to Christ above. The appears of the Three Magi or Kings bearing gifts on the hem of Theodora's robes reinforces the latter meaning. The moment represented has been identified liturgically as the Little Entrance which marks the beginning of the Byzantine liturgy of the Eucharist. Symbolically this entrance is understood to mark the First Coming of Christ (the Incarnation).

Christ in the apse is represented seated on a globe from which flow the four rivers of paradise. Christ holds in his hands a sealed book which is probably the Book of Life, which Christ will have at the time of the Second Coming and Last Judgment.
http://employees.oneonta.edu/farberas/ARTH/arth212/san_vitale.html

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tuzor ::(zanimalo bi me ima li kakvih podataka koji ukazuju na autorstvo)
Koliko ja znam, nema. Tuzor, izvoli.

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Zainteresovala sam se malo kada si pomenuo autora ovih mozaika te sam malo istrazivala ali nazalost nigde nisam uspela da nadjem....cak ni u nekim knjigama...svugde se navodi neki autor nazalost nepoznat...anyway evo jos jednog linka gde ima par interesantnih stvarcica o ovom mozaiku...Toliko od mene ^^
http://www.jstor.org/pss/3046283

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Zahvaljujem!
Kako napisa Lidžaja u pp, neki detalji upućuju da je možda reč o dvojici autora ovih mozaika...


Savremeni slikar i ilustrator, čija su preokupacija mitski, legendarni, religiozni i istorijski likovi, odnosno događaji, predstavljeni širokom lepezom od uljanih boja do izražajnih sredstava digitalne umetnosti.