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Poslao: 25 Dec 2010 13:34
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Настављам. 
Савремени руски сликар, истог имена и презимена као његов старији "колега" и земљак. У досезању надреалног помаже му и бављење фотографијом.
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Registruj se da bi učestvovao u diskusiji. Registrovanim korisnicima se NE prikazuju reklame unutar poruka.
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Poslao: 25 Dec 2010 15:47
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Јесте Иван "млађи" Пархоменко. Свидела ми се комплексност дела.
Јелкице, пожалуйста!
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Poslao: 25 Dec 2010 16:54
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Dankešen. 
Nemački umetnik. Sveća slična ovoj nalazi se na omotu albuma jedne američke grupe. Poznat i po figuralnim slikama, gde je tradicionalni sfumato zamenio njemu karakterističnim blurom, i po apstraktnim kompozicijama. U tu nefiguralnu kategoriju spada i "vitraž"u jednoj katedrali, koji nije oduševio nadležnog biskupa.
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Poslao: 25 Dec 2010 19:59
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Gerhard Rihter, Lobanja sa svećom (Skull with Candle, Schädel mit Kerze), ulje na platnu, 1983.
Citat:Sonic Youth used a painting of his for the cover art for their album Daydream Nation in 1987. He was a fan of the band and did not charge for the use of his image. The original, over 7 metres square, is now showcased in Sonic Youth's studio in NYC.
. . .
In August 2007, Richter's stained glass in the Cologne Cathedral was unveiled. It is an 113 square metre abstract collage of 11,500 pixel-like squares in 72 colors, randomly arranged by computer (with some symmetry), reminiscent of his 1974 painting "4096 colours". Richter designed the window for free. Cardinal Joachim Meisner did not attend the window's unveiling; he had preferred a figurative representation of 20th century Christian martyrs and said that Richter's window would fit better in a mosque or prayer house.
http://en.wikipedia.org/wiki/Gerhard_Richter
http://www.gerhard-richter.com/art/paintings/photo_paintings/detail.php?6536
http://poshbrokebored.blogspot.com/2010/01/gerhard.....es_10.html
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Poslao: 25 Dec 2010 20:09
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Minimalistički vanitas. Tuzor, sledeće, bitte. 
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Poslao: 26 Dec 2010 19:35
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Botičeli, Atena Palada i kentaur, oko 1482.
Kada je slika otkrivena, krajem devetnaestog veka, smatrano je da predstavlja političku alegoriju. Vez na Ateninoj haljini ponavlja motiv tri kugle, koji je preuzet sa grba Medičijevih. Stoga se mislilo da slika slavi Lorencovu pobedu nad Pacijevima, ili nekim drugim protivnikom. Politička slika bi, međutim, najverovatnije bila javno izložena, a za ovu sliku znamo da se nalazila u privatnim odajama Medičijevih. Vitkover je prvi ponudio drugačije čitanje slike, kao moralizatorske alegorije, a u tom smeru je i Gombrih posmatrao ovu sliku.
On je sliku doveo u vezu sa Fičinovim shvatanjem položaja čoveka na lestvici između animalnog i božanskog. Slika nam ne predstavlja borbu između kentaura i boginje, sva borba se odvija jedino unutar kentaura, koji je ovde očigledna personifikacija čovekove dvojne prirode, i animalne i božanske. Nesklad tog dvojstva mu donosi patnju koju čitamo na njegovom licu. Atenina uloga je drugačija od jednostavno pobedničke, ona je uzor kom čovek mora težiti kako bi dosegao najviše stepenike lestvice, kako bi dosegao najviši stepen duše, intelekt, do kog se stiže jedino ako se pokore niži slojevi duše. "Jedino božanska milost može razrešiti paradoks ljudskog postojanja. Jedino besmrtnost duše daje smisao našim mukama na zemlji. Dok boravi u telu, duša ne može dostići stanje savršenosti i sreće za koju je predodređena". Atena je uhvatila kentaura za glavu, što je prikladan gest dominacije, ali ne dobrog nad zlim, već višeg oblika postojanja nad nižim.
La figlia qui del gran Tonante sorga,
che sanza matre del suo capo uscio;
questa la mano al basso ingegno porga.
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Poslao: 26 Dec 2010 21:51
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Од Јелкице увек нешто више.
Тачно, наравно, и надасве - корисно.
Ја нађох ово, као занимљиво:
Citat:In two words, the scene shows a woman, evidently of allegorical character, holding a halberd in her left hand, her clinging robe bespangled with the three interlaced rings that were the emblems of the Medici, while about her arms, her body above the waist, and her hair are wound garlands of olive branches. To her back is fastened by straps what has been interpreted as a quiver, but which evidently is a shield. By her right side stands a resigned-looking, bearded centaur whom she holds by the hair as a sign of his subjection, while he still clings to his loosened bow, and the arrows rest in a quiver at his back. In the background is a seaport with a ship, and the scene is laid in the fields, above which towers a great rock.
The general interpretation that Pallas (or Minerva) is here the representative and patroness of the Medici, who are triumphing over chaos in the guise of the centaur, is of course obvious if one accepts the inventory's identification of the female figure as Pallas. More specific suggestions have been made ; such as that it commemorated the triumph of the Medici over the Pazzi, the victorious policy of Lorenzo, and in particular his alliance with Pope Innocent VIII (1487-92), when Machiavelli says that the Florentines lived in great felicity. Horn says (p. 160):
" Although no allusion occurs in Greek or Roman art or literature . . . which might explain or account for this conception of Pallas with a centaur, Botticelli, notwithstanding, appears to have taken the motive of the goddess plucking the centaur by the hair of the head from the antique. On the frieze of the loggia which forms the background of Botticelli's panel of the Calumny of Apelles . . . the painter has represented a woman dragging along by the hair of the head a centaur, who is bound and ridden by a Cupid, a composition which must have been taken directly from some work of ancient art."
http://www.mlahanas.de/Greeks/Mythology/PallasAndTheCentaurSandroBotticelli.html
Јелкице, изволи! 
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Nisu nikakve "kugle" sa grba, nego 
