Poslao: 19 Avg 2009 17:09
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- Pridružio: 07 Avg 2008
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Tačan odgovor, svi linkovi oteti. Ruže lepe, ali ne toliko da se raspišem o Bišofu.
Ostaje mi samo - tuzore, izvoli!
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Registruj se da bi učestvovao u diskusiji. Registrovanim korisnicima se NE prikazuju reklame unutar poruka.
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Poslao: 19 Avg 2009 19:49
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Vilijem Merit Čejz - Božuri
OT
Wikipedia ::Narodna imena za Paeonia officinalis: arapče, božurak, božurić, brozgva, devetak, duhovska ruža, ženski božur, kraljev cvijet, kurjak, mačur, prstenik, trojačke rože, trojaška rožica, turkarica.
Za Р. corallina: božur, mosur, muški božur, planinski božur, trava od tri rožčića, crljeni božur.
Za Р. decora: bažur, božur, brozgva, kosovski božur.
...
Biljka je otrovna i nije dovoljno ispitana ni hemijski ni klinički
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Poslao: 19 Avg 2009 20:51
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Hvala.
Nemački bidermajer, ne bez doze humora.
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Poslao: 20 Avg 2009 06:10
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- tuzor
- Legendarni građanin
- Pridružio: 03 Sep 2007
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Mihalj Munkači, Poslednji dan osuđenika na smrt (Mihály Munkácsy, The Last Day of a Condemned Man). Delo je naslikao u Diseldorfu, kao mlad slikar neopterećen željom za novčanim vrednovanjem svoga rada.
Citat:In 1869 Munkácsy painted his much acclaimed work The Last Day of a Condemned Man. This is considered his first masterpiece. The picture was rewarded with the Gold Medal of the Paris Salon in 1870. It made Munkácsy a popular painter in an instant and encouraged him to move to and settle in Paris. Ironically enough this work summarises torture caused by oppression, moral uncertainty and reactions to an impending tragic end in visual form. However, it aptly captures the capabilities of the Hungarian master in painting. Unfortunately he responded to material success and focused on works with high and immediate market value.
http://en.wikipedia.org/wiki/Mih%C3%A1ly_Munk%C3%A1csy
http://en.wikipedia.org/wiki/File:The_Last_Day_of_a_Condemned_Man.jpg
Citat:In the early years of his career Munkácsy painted mainly scenes from the daily lives of peasants and poor people. First he followed the colourful, theatrical style of contemporary Hungarian genre painters (e. g. Károly Lotz, János Janko), for example in The Cauldron (1864) or Easter Merrymaking (1865). In the next years he started to pay more attention to the landscape into which he placed his figures (Storm in the Puszta, 1867). From the Düsseldorf genre painters he learnt to represent different emotions in his figures and to treat them as a group (The Last Day of a Condemned Man, 1869).
http://www.mihalymunkacsy.org/biography.html
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