MyCity kviz - Da li vam je poznato ovo umetničko delo

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Tačno.

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Matthew Craske Art in Europe 1700-1830 ::A similar melancholy expression haunts Watteau's more famous image of Gilles or Pierrot (1718-19). As characters disporting themselves with a donkey behind him indicate, Gilles was also accustomed to acting as the butt of the jokes of more sophisticated and intelligent men. Both the magic lantern man and burlesque comic performer were forced to play the conventional role of the simpleton whose function is to make everyone else feel clever.

Watteau's image of Gilles or Pierrot is intended to communicate, as Dora Panofsky was first to demonstrate, the painter's sense of professional kinship. Both the painter and the comedic actor in this conventional guise share the common role of 'the ape of nature'. This identification between the artist and the tragi-comic performers and acrobats of the commedia del'arte was, as we have already seen in the analysis of Tiepelo's fascination with the figure of Punchinello, a strong trend in mid-eighteenth-century art. As Elizabeth Vigee-Lebrun hints in a nostalgic passage in her diaries when she recalls parties in her carefree youth when the painter Hubert Robert (1733-1808-) entertained all present with imitations of commedia del'arte acrobats, it was part of a playful, diversionary tradition of art which finally became redundant in the era of the Revolution.

A highly persuasive socio-historical explanation of the rise of this trend in early eighteenth-century Paris has been provided by Thomas Crow in the opening chapters of Painters and Public Life. Crow explains the process by which professional Italian commedia del'arte banned from performing in polite Parisian theatres set up a rival street theatre which so captivated the imagination of the polite public that it caused it to desert the officially endorsed comedy and opera. This precipitated an unprecedented blurring of the distinctions between elite and popular culture. Thus, an officially marginalized tradition was socially legitimized, becoming a valid source of inspiration for the artistic meditations of highly sophisticated 'high culture' artists such as Watteau and his master Gillot. The formulaic mimetic displays of Commedia del'arte performances became the focus of highly refined meditations on the relationship between fiction and artifice which were assuming a new significance within leisured civic society.

The melancholy air of Watteau s Gilles or Pierrot reminds us that it was intended to be construed as a vanitas, a self-imposed reminder of the inherent foolishness of attempting to construct illusory imitations of nature. There is a measure of irony in the fact that by formally acknowledging his foolishness he intended to make it clear to his viewers that he thought deeply about his role as an artist. The artists formal acknowledgements of the inherent futility of imitation played an important role in the struggle for social status in early and mid-eighteenth-ccntury France. Figures such as Watteau and Chardin realized that if their art was to be taken seriously by philosophically literate minds they would have to stress the fact that thev intended to achieve something more cerebrally demanding than a reproduction of the base visual impressions of'nature'.
Lidzaja, biraš sledeće.

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Hvala Jelkice.
Malo kasnim ali evo me.

Nije rodjena u Rusiji ali je naslikala zavidan broj portreta na dvoru u Sankt Peterburgu. Tu je i preminula.

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Škotlanđanka.

Kristina Robertson, Portret princeze Zinaide Jusupove oko 1840.

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Tako je Jelkice.

Citat:Christina Robertson (née Sanders, 1796-1854) was a Scottish portrait painter of the mid-19th Century, who spent many years at the Russian Imperial Court in St. Petersburg.
Christina Sanders was born in Fife, Scotland, in 1796. It is unknown when she first started painting, and where received her education. In 1822, she married the artist James Robertson, and together, they settled in London. The marriage would produce eight children, four of whom would die in childhood. Christina Robertson died in St. Petersburg, in 1854 and was interred in the Volkovo Cemetery.

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Moze dalje.

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Hvala.



Slikar je na kvizu već predstavljen, sa jednim reprezentativnim fresko ciklusom, a naslikao je za života i dosta "neuglednih" slika, kao što je ova. Barok.

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Annibale Carracci -"Man with Monkey"

Citat:Anibale Karači (Annibale Carracci, 3. novembar 1560-15. jul 1609) je italijanski slikar. On je pripadao baroku. Zajedno sa svojim bratom i rođakom je osnovao slikarsku školu u Bolonji, koja je bila začetak bolonjske eklektičke škole. On je bio njen glavni i najznačajniji predstavnik. Zajedno sa ostalim predstavnicima te škole protivio se kako renesansi, manirizmu tako i naturalizmu Karavađa. Najpoznatiji je bio po freskama mitologične sadržine i relihijskih uljanih slika. Slikao je u Bolonji, Veneciji i Rimu.


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Aha.

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Majmun je kao simbol imao raznorazna značenja, a u renesansoj umetničkoj teoriji se poistovećivao sa umetnošću, odnosno umetnikom, zahvaljujući čuvenoj Aristotelovoj rečenici koja na latinskom glasi "Ars simia naturae", u prevodu "Umetnost oponaša prirodu" (umetnost je "majmun prirode"). Majmun je takođe bio i simbol greha, figura diaboli tokom srednjeg veka. Na ovoj Karačijevoj slici čovek i majmun su uokvireni ovalnim oblikom, što upućuje na ideju ogledala. (Tu i Njegoš stupa na scenu). Ogledalo je takođe kao simbol ukazivalo na greh, na taštinu pre svega, ali je i sasvim očigledan simbol koncepta mimesis, ili imitatio koji je dobio nov značaj u epohi baroka.


Lidzaja, nastupaš!

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Kasnim, znam, kriva sam, ali vremena je tako malo a obaveza...

Nisam mogla da mu odolim - slikar,vajar i svasta jos ponesto. Nije tesko i ne mozes da ga ne volis.



Slikarstvo je poezija...

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Нег' шта је него поезија, само без могућности досезања божанских висина.
Леонардо да Винчи, Дама с хермелином, 1483.
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Jeste Tuzore, bas mi jde drago da si nasao malo vremena i za nas.


Citat:Slikarstvo je poezija, koja je vidljiva i ne da se čuti a poezija je slikarstvo koje se sluša i nevidljivo je

Idemo dalje.