MyCity kviz - Da li vam je poznato ovo umetničko delo

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Da, Hans fon Ahen je naš umetnik. E sad, ne znam nemački, ali ono što sam našao, upućuje da delo ovako nazivaju (zavisno od izvora):
Alegorija - Trijumf Istine
Alegorija trijumfa Pravde
Alegorija, ili Trijumf Pravde/Pravednosti
Trijumf Istine
Trijumf Istine pod zaštitom Pravde/Pravednosti.

Uglavnom, na nemačkom je tačno onako kako je navedeno u Jelkičinom odgovoru: Sieg der Wahrheit unter dem Schutze der Gerechtigkeit.

http://en.wikipedia.org/wiki/Hans_von_Aachen
http://www.artexpertswebsite.com/pages/artists/von_aachen.php
http://commons.wikimedia.org/wiki/File:Hans_von_Aachen_002.jpg
http://www.friendsofjade.org/storage/article_images/rudolf/rudolf-30.jpg

Nisam uspeo da nađem nešto detaljnije o slici na Netu. Nagi ženski lik je svakako simbol Istine (koja se prikazuje gola). Usudiću se da ostalo slobodno protumačim: Pravda u suštinskom obliku je prikazana u vidu obučene ženske figure, a u "realnom" obliku u liku lava, vođenom od strane "suštinske" Pravde. Lav je često simbol tzv. "carske pravde", i pretpostavljam da se Hans fon Ahen rukovodio ljubavlju prema svojoj (i tada i sada) moćnoj domovini, koja je oduvek imala imperijalne težnje. Onaj "grešnik" na zemlji, koji čeka da bude rastrgnut, najverovatnije oličava neprijatelja Nemačke.

Ako grešim - na moju dušu!

Jelkice, izvoli!

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Napisano: 06 Apr 2010 20:22



Nisam eksperAt za ikonološko tumačenje, ali mi se sviđa ovo što je tuzor "smislio".
Znam za ovu Direrovu grafiku, a vrrrrlo verovatno (sasvim sigurno) je i Hans znao za nju, ali ne znam da li je ona uticala na ikonografiju Hansove slike. U svakom slučaju je zanimljivo:

http://amica.davidrumsey.com/luna/servlet/detail/A.....&trs=1


Citat:Astrology had established a special connection between each of the seven planets (which, before Copernicus, included the moon and the sun) and each of the twelve signs of the zodiac. To every planet had been allocated two zodiacal "mansions," one for the day and one for the night, except for the moon who needed a home only for the night, and for the sun of whom the opposite was true. His "mansion" was the Lion, the sign of July, when he is at the height of his power, and this association was depicted in many different ways. One, peculiar to the Islamic East, was to place the figure of Sol on the back of his Lion, and one of the few non-Islamic specimens of this type is found where it could easily have attracted Diirer's attention: in one of the capitals of the Palace of the Doges at Venice, the most oriental city of the Western World (fig. 104). This figure, then, is the visual model of Durer's engraving: a Sol on his zodiacal sign, the Lion. But why was this astrological image represented with the attributes of Justice? The answer lies in a verse of Malachi: "But unto you that fear my name shall the Sun of righteousness arise." On the strength of this line the Fathers of the Church had transformed the supreme god of the Roman Empire, the "Sol Invictus" or Never-vanquished Sun, into a "Sol lustitiae" thereby displacing the natural force of a life-giving and death-dealing astral divinity by the moral power of Christ. This bold equation, well adapted to strike the fear of judgment into the hearts of the faithful, survived for more than a millennium; and in one of the most widely read theological handbooks of the later Middle Ages, the Repertorium morale by Petrus Berchorius, we find a passage which must be regarded as Durer's direct source of inspiration, all the more so because this handbook had been printed by Koberger in 1489 and again in 1498, the very year in which the engraving was probably conceived. The passage reads: "The Sun of Righteousness shall appear ablaze [inflammatus] when He will judge mankind on the day of doom, and He shall be burning and grim. For, as the sun burns the herbs and flowers in summer-time when he is in the Lion [in leone], so Christ shall appear as a fierce and lion-like man [homo ferus et leoninus] hi the heat of the Judgment, and shall wither the sinners. . . ."

Only the "imaginativa stravagante" of Diirer was capable of charging the form of an insignificant astrological image with the content of this apocalyptic vision. His engraving "SOL IUSTITIAE" served as a model to several later artists. But they either used it for representations of the planetary Sol, with every reference to the idea of Justice left out, or else for allegories of Justice without the grandeur of a cosmological perspective. Not one was able to recapture the concept of a Sun who is both Justice and Christ.
Panofsky, The Life and Art of Albrecht Durer


Nego, kad smo već kod "gole istine", sledi pitanje:



Dopuna: 07 Apr 2010 11:33

---->

Autocitat!

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E, citat je bio baš adekvatan!!!

Sandro Botičeli, Kleveta, ili Kleveta(nje) Apelesa (La Calomnie d'Apelle, Calumny of Apelles), Galerija Ufici.

Citat:An innocent young man is dragged before the king's throne by the personifications of Calumny, Malice, Fraud and Envy. They are followed to one side by Remorse as an old woman, turning to face the naked Truth. Truth, like the innocent youth, is naked as she has nothing to conceal.
http://www.abcgallery.com/B/botticelli/botticellibio.html#Calumny%20of
http://www.abcgallery.com/B/botticelli/botticelli48.html

Citat:Botticelli's theme was drawn from a famous painting by the Greek artist Apelles, described by Lucian in volume four of the surviving collected works of eight volumes. Apelles produced his painting because he was unjustly slandered by a jealous artistic rival, Antiphilos, who accused him in front of the gullible king of Egypt, Ptolemy I Soter, of being an accomplice in a conspiracy. After Apelles had been proven to be innocent, he dealt with his rage and desire for revenge by painting this picture.
. . .
Remorse is shown as an old woman, turning to face the naked Truth. Botticelli based his figure of Truth on the classical type of the Venus Pudica, as well as his own depictions of Venus. She is a naked beauty, an effective opposite to the personification of Remorse, an old, grief-stricken woman in threadbare clothes. Truth, like the innocent youth, is almost naked as she has nothing to conceal. The eloquent gestures and expression of the only towering figure in the painting are pointing up towards heaven, where a higher justice will be meted out.
http://en.wikipedia.org/wiki/Calumny_of_Apelles_%28Botticelli%29
http://nearyou.ru/bottichelli/3calumn.html

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Tačno.

Ernst Gombrich, Symbolic Images ::...type of source which mostly inspired Renaissance artists or their humanist mentors - the classical ekphrasis. It is to these descriptions of pictures, real or imaginary, that the Renaissance turned in its search for new themes. Alberti had made a begining in his advice to painters to reconstruct the Calumny and the picture of the Graces. Botticelli himself was to follow this advice concerning the Calumny into which he even inserted the reconstruction of another classical picture described by Lucian - the family of Centaurs.

U vezi sa ambivalentnošću nage ženske figure kao ikonografskog motiva, i greškom u Albertijevom prevodu Lukijanovog teksta, koja je dovela dotle da se Istina kao naga ženska figura predstavlja u renesansnoj umetnosti:

Erwin Panofsky, Studies in Iconology ::Not only in the Bible but also in Roman literature actual nudity was often thought objectionable, because it indicated either poverty, or shamelessness. In a figurative sense, however, it was mostly identified with simplicity, sincerity and the true essence of a thing as opposed to circumlocution, deceit and external appearances. All things are 'naked and opened unto the eyes of God'. A γυμνὸς λόγος is a straightforward, honest speech. Nuda virtus is the real virtue appreciated in the good old days when wealth and social distinction did not count, and Horace speaks already of nuda Veritas, though the Greek writers, characteristically enough, rather imagined Truth as dressed in simple garments.
...
In the Italian Quattrocenro, however, the concept of 'nude Truth' came to be transferred to a secular plane. Chiefly responsible for this was Leone Battista Alberti who in his 'Treatise on Painting' (first Latin version 1436) called the attention of modern-minded painters to the 'Calumny of Apelles' as described by Lucian: the conviction and punishment of an innocent victim belatedly vindicated by Repentance and Truth. In his description of this allegory Alberti followed Guarino da Verona's faithful translation of the Greek text. But while Lucian, silent as to the appearance of Truth, had described Repentance as 'weeping and full of shame,' Alberti reversed the situation by saying: 'after Repentance, there appeared a young girl, shamefaced and bashful, named Truth' ('una fanciulletta vergogniosa et pudica, chiamata: la Verita'). This shift of the epithet pudita or pudibullda from Repentance to Truth - so small a change that it has escaped notice thus far - is yet significant. For, while repentance implies a feeling of guilt akin to shame, Truth could not conceivably be 'shamefaced and bashful,'-were it not for her nudity: it is evident that Alberti already imagined Truth as a naked figure of the 'Venus Pudica' type, as she appears in Botticelli's panel and many other paraphrases and representations of the Calumny theme. Thus the figure of nudaa Veritas became one of the most popular personifications in Renaissance and Baroque art; we have already encountered her in the numerous representations of 'Truth unveiled by Time.' And nudity as such, cspecially when contrasted with its opposite, came to be understood as a symbol of truth in a general philosophical sense. It was interpreted as an expression of inherent beauty (φυσιϰὸν ϰάλλος, pulchritudo innata) as opposed to mere accessory charms (ἐπείσϰϰтὸν ϰάλλος, ornamentum) and, with the rise of the Neoplatonic movement, it came to signify the ideal and intelligible as opposed to the physical and sensible, the simple and 'true' essence as opposed to its varied and changeable 'images.'

Tuzor, daj novo pitanje, bez srama.

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Here it is, without shame!

Engleski slikar. Odlučio da bude "na usluzi" nauci.

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Џоз'ф Рајт ов Д'рби ... ne, Džozef Rajt od Derbija, Eksperiment sa pticom zarobljenom u vakuumskoj pumpi

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Тако је, Јелк'це!

Citat:Wright is notable for his use of Chiaroscuro effect, which emphasises the contrast of light and dark, and for his paintings of candle-lit subjects. His paintings of the birth of science out of alchemy, often based on the meetings of the Lunar Society, a group of very influential scientists and industrialists living in the English Midlands, are a significant record of the struggle of science against religious values in the period known as the Age of Enlightenment.
http://en.wikipedia.org/wiki/Joseph_Wright_of_Derby

Citat:The first of his candlelit masterpieces, Three Persons Viewing the Gladiator by Candlelight, was painted in 1765, and showed three men studying a small copy of the "Borghese Gladiator". The Gladiator was greatly admired; but his next painting, A Philosopher giving that Lecture on the Orrery, in which a Lamp is put in place of the Sun (normally known by the shortened form A Philosopher Giving a Lecture on the Orrery or just The Orrery), caused a greater stir, as it replaced the Classical subject at the centre of the scene with one of a scientific nature. Wright's depiction of the awe produced by scientific "miracles" marked a break with traditions in which the artistic depiction of such wonder was reserved for religious events, since to Wright the marvels of the technological age were as awe-inspiring as the subjects of the great religious paintings.
. . .
An Experiment on a Bird in the Air Pump followed in 1768, the emotionally charged experiment contrasting with the orderly scene from The Orrery. The painting, which measures 72 by 94½ inches (183 by 244 cm), shows a white cockatoo fluttering in panic as the air is slowly withdrawn from the vessel by the pump. The witnesses display various emotions: one of the girls worriedly watches the fate of the bird, while the other is too upset to observe and is comforted by her father; two gentlemen (one of them dispassionately timing the experiment) and a boy look on with interest, while the young lovers to the left of the painting are absorbed only in each other. The scientist himself looks directly out of the picture, as if challenging the viewer to judge whether the pumping should continue, killing the bird, or whether the air should be replaced and the cockatoo saved. Aside from that of the children, little sympathy is directed toward the bird; David Solkin suggests the subjects of the painting show the dispassionate detachment of the evolving scientific society. Individuals are concerned for each other: the father for his children, the young man for the girl, but the distress of the cockatoo elicits only careful study. To one side of the boy at the rear, the cockatoo's empty cage can be seen on the wall, and to further heighten the drama it is unclear whether the boy is lowering the cage on the pulley to allow the bird to be replaced after the experiment or hoisting the cage back up certain of its former occupant's death. It has also been suggested that he may be drawing the curtains to block out the light from the full moon.
. . .
The powerful central light source creates a chiaroscuro effect. The light illuminating the scene has been described as "so brilliant it could only be the light of revelation". The single source of light is obscured behind the bowl on the table; some hint of a lamp glass can be seen around the side of the bowl, but David Hockney has suggested that the bowl itself may contain sulphur, giving a powerful single light source that a candle or oil lamp would not. In the earlier study a candle holder is visible, and the flame is reflected in the bowl. Hockney believes that many of the Old Masters used optical equipment to assist in their painting, and suggests that Wright may have used lenses to transfer the image to paper rather than painting directly from the scene, as he believes the pattern of shadows thrown by the lighting could have been too complicated for Wright to have captured so accurately without assistance. It may be observed, however, that the stand on which the pump is situated casts no shadow on the body of the philosopher, as it could be expected to do.
http://en.wikipedia.org/wiki/An_Experiment_on_a_Bird_in_the_Air_Pump

Јелк'це, изволи!

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Napisano: 09 Apr 2010 10:38



Traže se umetnik i naziv slike, a za bonus poene potrebno je prepoznati i umetnička dela sa slike.

Dopuna: 09 Apr 2010 23:42

Instrukcije za umetničke detektive:

U nazivu slike je ime muzeja, ili galerije, u kom se radnja slike dešava. A koji je to muzej, odgonetnućete prepoznavanjem nekog od umetničkih dela i guglanjem njegove lokacije. Jedna slika sa desnog zida je ne tako davno bila postavljena kao pitanje na kvizu.

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Meni se Ticijan jutros odmah javio, preko Urbinske Venere.

Johan Zofani, Galerija Ufici (The Tribuna of the Uffizi).

Citat:The Tribuna of the Uffizi (1772–8 ) by Johann Zoffany is a painting of the north-east section of the Tribuna room in the Uffizi in Florence, Italy.
. . .
Zoffany has varied the arrangement of the artworks and introduced others from elsewhere in the Medici collection. He gained special privileges, with the help of George, 3rd Earl Cowper (1738-80), and Sir Horace Mann (1706-86), such as having seven paintings, including Raphael’s Madonna della Sedia, temporarily brought in from the Pitti Palace so that he could paint them in situ in the Tribuna. In thanks Zoffany included a portrait of Cowper looking at his recent acquisition, Raphael's Niccolini-Cowper Madonna (Cowper hoped to sell it on to George III - it is now in the Washington National Gallery of Art), with Zoffany holding it (to the left of the Dancing Faun).
http://en.wikipedia.org/wiki/Tribuna_of_the_Uffizi_%28painting%29

Rafael, Koređo, Karači, Rubens i ostali prave društvo Ticijanu...

A ova Rubensova slika sa desnog zida je bila nedavno postavljena (razmišljam zašto mi uopšte nije skrenula pažnju ):
http://www.mycity.rs/Likovna-umetnost/MyCity-kviz-.....ml#1023363

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tuzor ::...(razmišljam zašto mi uopšte nije skrenula pažnju )
He, he, ni posmatrači unutar slike ne gledaju u tom pravcu.

Ako bolje zagledate društvo okupljeno oko statue na desnoj strani slike, primetićete da jedan od gospode drži i monokl, kako bi što bolje osmotrio Venerine "atribute". U toj grupi su i izvesni gospodin Vilbrahams, koji sa neskrivenim oduševljenjem dodiruje statuu, kao i Džejms Brus, sa reputacijom opasnog zavodnika. Najveće grupe ljudi okupljene su upravo oko onih dela čiji je sadržaj u to vreme smatran erotskim. Slikar je sebe naslikao u levom delu, kako drži Rafaelovu Bogorodicu, i čudnovato se osmehuje. Metju Krask smatra da sve ovo nije slučajno:

" Zoffany was soon to enter into the patronage of Richard Payne Knight and the Baron D'Harcanville, amateurs who formulated the notion that man's fundamental creative and religious impulses were the by-products of his primitive procreative energies. The harder we (viewers) look into Zoffany's mirror of life and art, the more we discern the earthly primitive impulses which lie behind man's most civilized occupations".

Slika je rađena za kraljicu Šarlotu, i znamo da ona slikom nije bila oduševljena. Krask pretpostavlja da nije bila naivna, i da joj se nije dopala ova muška šala i nagoveštaj lascivnog sadržaja.

A kao bonus, evo jednog autoportreta sa nekim zanimljivostima na zidu.


A da, popis skoro svih dela i likova - ovde:


http://employees.oneonta.edu/farberas/arth/arth200/museum/Zoffany_Tribuna.html

Tuzor, izvoli.