Baroque epoch is called in the art of Italy XVII century. This style, which became one of the dominant in European painting, is characterized by the sensual fullness of worldview, dynamism of artistic solutions. With a special completeness, he revealed in large-scale urban, architectural and picturesque ensembles. The multipoint of Italian art is determined by a variety of local artistic traditions, but, as in the Renaissance era, the artist's image remains in the center of attention.

Pietro and Corton, architect and artist, entered the history of art as the author of the famous cycles of the paintings, decorated the Palaces of Rome and Florence. His composition "Return Agari" is an excellent sample of the Masters of the Master, who has undertaken to give the Baroque style with almost classic rigor of the solution.

Baroque style flourishing is associated with the work of Naples Luke Jordano, who worked in different cities of Italy and influenced many artists. Inherent in its work, the dynamics of movement and the inner pathos were especially fully revealed in altar images, in cycles of monumental-ornamental canvases and wall paintings. The brushes of this outstanding master in the museum meeting belongs to several works, allowing to judge the scale of its dating. It is a canvas for allegorical, gospel and mythological stories - "Punishment by Marcia", "Marriage in Cana Galilee", "The torment of St. Lawrence. The best of them, no doubt, is the composition "Love and vices disarm justice."

Multiple works are presented in the exposition Naples School marked by the identity of development. The kingdom's politically neapolitan vice was under the rule of the Spanish crown, which imposed his stamp and on the development of art. The picture of Bernardo Cavallino "Exile Ilodora from the Temple", in which academic traditions were peculiar, and the work of Andrea Vakkaro ("Maria and Marfa") and Domenico Gorjul ("Transferring the Ark of Testament King David in Jerusalem") indicate the variety of artistic searches inside Separate schools.

Baroque style gave a powerful impulse for the heyday of the landscape, still life, genre paintings in their unique national Italian version.

At the turn of the XVII-XVIII centuries, the task of overcoming Academism, which turned into a set of distracted formulas. In Bologna, this overtance of the academic tradition, Giuseppe Maria Cresmen, skillfully using the game of lighting, in a new way solves religious ("Holy Family") and mythological plots ("Nymphs, disarming Amur"), filling them with a living human feeling. Genoese Alessandro Manya, who worked in Milan, Florence, Bologna, relying on the picturesque traditions of the XVII century, developed romantic trends. Grotesque features are inherent in its unusual, written by nervous rolling stroke compositions with scenes from the life of monks and wandering actors ("Landscape with monks", "Mourning nuns", "Society"). And even the life-affirming mythological theme of "Vakhanlia" in the interpretation of the master is filled with a feeling of deep melancholy. This canvas artist fulfilled in collaboration with the Spher Clement, the author of architectural ruins.

The period of the new lift falls at the XVIII century, when the style of Rococo is approved on Italian soil, the features of which are painted works of different genres - Portrait (Sagrathi "Male Portrait", Luigi Crescents "Portrait of a Girl with Basket of Flowers"), image of scenes of everyday life (Long Imprint " The meeting of the procurator with his wife "), paintings on the plots from ancient history and mythology (Crowat" Finding Moses ", Pitton" Death of Selfons ", Sebastian Ricci" Sotnik before Christ "). The last bright period in the history of Italian art is associated with Venice, which advanced in the XVIII century, a whole pleiad of the painters of the highest level. A special place among them is rightfully occupied by Jambattist Tapolo, an outstanding painter of his time, a recognized master of monumental-decorative painting, who received numerous orders from Europe countries. His brushes belong to the altar composition "Madonna with baby and saints", as well as freely performed sketches "Death Didona" and "Two Saints".

In section XVIII century, the works of the Roman painter Panini ("Benedict XIV visits the Trevi Fountain"), which in the genre of landscapes with the motives of Ruins was the predecessor of such a highly appreciated in Russia, the Frenchman Juber Robert.

In Venice, whose charming beauty left no one indifferent, a special direction of landscape painting is formed - the image of the city with its palaces, channels, squares filled with a motley picturesque crowd. Cantelto's canvas, Bernardo Bellotto, Mariesey, belonging to the genre of architectural leaders, fascinate illusory image accuracy, while Francesco Camera Works are called Landscapes-Capricho, not so much reality, as a poetic image of the city offer attention.

Janantonio Guard, unlike the younger brother Francesco, gained fame as a master of compositions with figures on biblical, mythological and historical topics. The exposition presents its picture "Alexander Macedonian at the body of the Persian king Daria", recognized as a genuine masterpiece of the master. In the age of carnival and brilliant heyday of music, masterly using the language of textures and colors, the Guard creates an unforgettable pictorial symphony, penetrated by the living movement of a human feeling. At this high note, the period of the greatest flourishing of Italian art is ends, the beginning of which was laid by the Renaissance Epoch.

Show full text

Taddeo di Bartolo Taddeo Di Bartolo
Born about 1362 in Siena (?), Died in 1422 there. Sienskaya school. Perhaps he studied at Jacomo Di Mino de Pelicala; He experienced the influence of Andrea Banny and especially Barbolo di. He worked in Siena, San Jiñano, Genoa, Pisa, Perugia, Volterre.
St. Paul
Tree, tempera 22.5x17.5. GE 9753. Part of the limit. On the book in the hands of St. Paul: AD Roma / NOS (to Romans).
"St. Paul "was listed by the work of an unknown Siensky artist of the XIV century, while M. Laklot (orally) did not attribute him, quite convincingly, Taddeo di Bartolo.
In a small fragment, a plane solution of forms, combined with a saturated flavor manifests the plaque. The artist, finely feeling color, compares the red raincoat, embroidered along the edge of the gold ornament, with a reddish beard and pavla hair, with a cold sword surface.
Close an analogy of the Hermitage picture is a limit from the columns. X. L. Moses in New York (Play: Berenson 1968, Pi. 477).
The New York limit includes five figures, of which they are especially close to St. Paul, that is in the center, and the figure of St. Andrei. Similarly position heads, eye drawing, eyebrows, mouth, wrinkles on the forehead. The same ornaments on the edge of the raincoat and the nimbi. Origin: Post, in 1954 from the Department of East GE. Earlier: Cons. Assumption.

In the guidebooks and catalogs of the Hermitage of the middle of the XIX century. The works preceding the Renaissance are not mentioned. No wonder in 1859, A. I. Somov, noted: "Ancient Florentine School, the Rhodonacham of all local schools of Italy, does not exist in our Hermitage."

Madonna from the scene "Annunciation"
Tree, tempera 122 × 41. GE 5521. Pair to GE 5522. The top is rounded.
Down on the pedestal signature: LVCE OPVS
Angel from the "Annunciation" scene
Tree, tempera 122 × 41. GE 5522. Pair to G'E 5521. The top is rounded.
Echmangelie from Luke, I, 26-38.
Apparently, the paintings were tripty flaps. This conclusion can be made on the basis of the composition: compared together, the sash does not coincide on a promising solution, thereby supposed to assume the presence of a connecting link, that is, the central part of the altar.
When the picture arrives, the work of an unknown Italian artist
XV century Then the signature tried to decipher as the name of the Lombard Master Luke Chiverkio. Now the existing attribution was made by Vsevolozhskaya (1972) on the basis of stylistic similarity with such works of Luke Baudo, as "Baby Worship" (City Museum, Savona), "Christmas of Christ" (Museum of Poland Petzoli, Milan). "The Christmas of Christ" is dated 1501 and is provided with the same short signature as the Hermitage Solder. An artist enjoyed such a signature in the late period of creativity. By analogy with the Milan painting, Hermitage works can also be dated 1500-1501.
Origin: post, in 1925 from Shuvalovsky Palace-Museum in Leningrad. Earlier: Cons. Shuvalov graphs in St. Petersburg.

So it was not only with Florentine, but also with other Italian schools. It was explained by the fact that before the beginning of the XX century, that is, throughout the 150-year-old existence of the museum, the official leadership almost did not show interest to the so-called "primitives".
The term "primitives" is consumed in relation to the earliest works of Italian painting. Definition is conditional and not quite successful; In this case, it does not mean elementality, simplicity. Rather, it is necessary to turn to another value of the Italian word - the root, initial one. Then it becomes clear that it is necessary to keep in mind that the basis, those origins from where the art of Renaissance gradually arose.
Hermitage has primitives primarily thanks to Russian collectors, especially the collections of Stroganov - Pavel Sergeevich and Gregory Sergeevich. The love of brothers to the art was hereditary: their ancestor A. S. Stroganov, the patrons and a passionate collector, helped Catherine II to recruit Hermitage.
G1. S. Stroganov still in the middle of the last century was carried away by the works of early Renaissance. Describing his meeting in St. Petersburg, director of the Berlin Museum, Professor G. F. Wengen stressed that P. S. Stroganov "belongs to the number of rare collectors who ... appreciate the spiritual content of paintings by the XIV and XV centuries." After death
P. S. Stroganova In 1912, the Hermitage was transferred to the "Worship of the Baby" of the Philippines "Lippi, which occupies a worthy place on the permanent exposition of Italian art.
The meeting of S. Stroganova was in Rome, where he lived for many years. Grigory Sergeevich perfectly understood in painting: he himself determined the author "Madonna from the" Annunciation "scene, calling the name Simon Martini. This sash diptych, as well as the Reliquarian Frand Angeliko, were presented with the Hermitage in 1911 by the heirs of G. S. Stroganov, who suggested to make a museum most belonged to him.
In 1910, the formation of a small section of primitives was facilitated by the fact that some pictures were passed from the Russian Museum to Hermitage, bought at the initiative of Prince Gagarin in the 60s. XIX century For the museum at the St. Petersburg Academy of Arts. Now it was already possible to say: "In the VI hall, ... three or four primitives, from which one type of Jotto, really wonderful ... This era of Italian painting was not at all presented ... From now on, teachers reading the history of arts by our samples can start She is not with Beato Angeliko, but from the very occurrence of Italian painting. "

St. Jacob Jr.
Tree, oil. 68.7x43. GE 4109. Part of the polyptic.
On the Nimbe: Sanctvs Iacobvs is a picture of the painting in the collected Count G. S. Stroganov, Wagen (1864), describing it, called the senior Jacob depicted. However, he does not have one of the main attributes of the senior Jacob - the sink, the pilgrim symbol. Rather, Jacob Jr., who was likened by the type by Christ; That is he and an Hermitage picture. Attributes - staff and book - typical of Jacob younger.
Wagen (1864) wrote that he was not known
artist Niccolo Orvietanne - under this name, the picture was listed in the cat. G. S. Stroganova - and added that the transfer of Nunkarnat resembles Niccolo Aluno. The German researcher noted the talent of the author "Sv. Jacob "and as a draftsman and as a colorist.
Hark (1896) attributed a picture of Burgówon and attributed it to the late stage of the master's work. He believed that the name of the NPCCO orves could be the name of the customer, not the artist.
An attribution of Burgreon is confirmed by comparison with such paintings of the master as "St. Elizabeth with St. Francis "and" St. Peter Martyr with St. Christofore "(ambrosparan, Milan). Type of sv. Jacob is the same. What in St. Francis, and curly hair and ornament along the edge of the cloak are repeated in the image of St. Christopher. Hermitage sash can be dated ok. 1500. Origin: Post, in 1922 PZ Stroganovsky Palace-Museum in Petrograd. Earlier: Cons. Count G. S. Stroganova in St. Petersburg. Hermitage catalogs: Cat. 1958. With. 69; Cat. 1976, p. 76.

Crowning Mary
Tree, tempera 120x75. GE 6662.
The plot dates back to the "Gold Legend" of Jacopo yes Voradzhin (about 1230-1298). The corona scene Merip appears in Italian art in 1270/80 and becomes a favorite theme of Venetian painting XIV century. A certain compositional scheme was developed: Christ and Mary squeeze on the throne, followed by the sky and angels. All this is in the Hermitage picture, where, however, Christ is represented without a crown (rarely encountered motive), but with a scepter in his hands. Crowning Madonna simultaneously perceived and as a glorification of it. Mary's prayer gesture brings the subject of intercession to the scene.
The picture entered the Hermitage as a work of an unknown Italian artist XIV. In cat. 1958 and 1976 entered the work of Katerino Venetciano (?). Pallukkini (1964) admitted that "Coronation of Madonna" may refer to the early stage of Donato's activities, which still imitating Paolo Venetgano.
The Hermitage picture is stylistically close as the works performed by Katerino ("Coronation of Mary", Academy, Venice; "Coronation of Mary", Triptych, Academy, Venice) and those who were created together with Donato ("Coronation of Mary", Galera Kuernp - Stampalia, Venice). However, the types of persons (especially angels), more highly marked by the Byzantine tradition, are forced to assume that the work can rather brought closer to the works of Katerino Venetsiano.
Origin: Post, in 1923 from the timing directories of the Hermitage: Cat. 1958, p. 109; Cat. 1976, p. 101.

The founders of humanism, leaving the roots in the XIII century, were Francesco Petrack (1304-1374) and Giovanni Boccaccio (1313-1375). Relying on antiquity, the new worldview has paid his eyes per person. Thus, Humanism opposed the Church-Bogoslovsky Relation to the world. However, for the XIV century. It is characterized by a certain gap between the humanistic thought and the art that has not yet done secular. Here, humanism will get fruit only with the onset of early Renaissance (XV century).
XIV. passed under the sign of the struggle of cities against the feudalists; It is the cities that became the foci of a new culture. In a fragmented Italy, it remained throughout the centuries-old history (until the middle of the XIX century), in the period of Tryteno5, a leading role in the political, economic sphere of culture belonged to Florence.
The father of Western European painting is often referred to as Jotto (1267-1337). Sometimes, in comparison with his work, we consider any Florentine painter of the XIV century, sometimes these masters are generally called "Jottists", although the influence of one, even the most genius, the artist cannot become decisive for an entire century. But it is difficult to overestimate the innovation of Jotto, who resolutely broke down with the arbitrariness of connections and the convention of the place of action of Byzantine painting. Between the works of Jotto and the viewer there are new relationships other than the previous period of art, when the icon, mosaic or fresco concluded the idea of \u200b\u200bmagnitude, incomprehensibility of the deity and thus the figurative embodiment existed according to its own laws, not based on specific realities.
Jotto first managed to give religious stories to life conviction. In his laconic paintings created in Florence, Padua, Assisi The narrative was unfolded not on the plane, but in the depth, and the acting faces of the sorrows or rejoiced as ordinary mortals. Such painting could not not shake contemporaries.
After Jotto, it was possible to fill in new details and develop the decisions offered to them, retreat from his quest, to find oblivion in gothic retrospects, as it happens on the verge of the XIV-XV centuries, but it was impossible to change the larger line of development of painting.
Jotto primarily monumentalist, it is extremely small. Only a few museums of the world can be proud of their possession. Hermitage, unfortunately, does not belong to this number.
In our museum, Florentine painting is presented, starting from the middle of the XIV century. This is the moment when after a number of experienced catastrophes - the economic crisis, the uprisings, the terrible epidemic of the plague of 1348.- The reassessment of values \u200b\u200boccurs: the increased religiosity dictated a return to the "icon". Jottov Humanity for a while reiterated the place of distracted solemnity and stiffness of the saints, in which the masters sought to emphasize the significance and high hierarchical position occupied by them in the heavenly spheres. No florenant master of the XIV century. Can not be comparable from Dia Otto. Only a new reformer Mazacho (1401-1428) will appear at the beginning of the quatropento (1401-1428), one of the founders of the early Renaissance. And the more resolutely the coup that happened at the turn of the two centuries - XIV and XV, if you recall that, along with painting, Mazacho existed the style of international gothic, refined and sophisticated, who came from the court-knights of Northern Europe, which in one city with this artist continued to work Late followers of Jotto, and such a master as Bichci di Lorenzo (1373-1452), much reinforced Mazach. As if she did not notice the shifts that occurred in Florentine art, still likening the flat figures of the sainted elegant applications against the background of richat fabrics.
For all the independence of the Florentine school, she herself admired impulses from other art centers, and became for the source of exposure.

Crucifixion with Maria and John
Tree, tempera 62x31. GE 277. In the Gothic Frame.
"Crucifixion" refers to a relatively small number of works by the artist, made with miniature care. Despite the fact that the figures are presented on a gold background, the pietro is achieved by their location of a certain depth of space. The concise composition is interpreted emotionally in the transfer of deep, but restrained sorrow of Mary and John. An uncommon to dating an artist with painting Jotto felt in some massiveness of the figures.
Above the crucifix, in a triangular completion, a pelican is depicted, feeding chicks with his blood - a symbol of the redemant victim of Christ (see: REAU L. Iconographie de 1'art Chretien. Paris, 1955, 1, p. 95).
The picture entered the Hermitage as a work of an unknown Siensky artist XIV century, in Cat. 1912-1916 Included with the same attribution, in cat. 1958 - Ambrogo Lorentzetti School. The authorship of Pietro Lorentzetti was established by Vsevolozhskaya (1981) on the basis of a stylistic comparison with the right sash of Triptych (Museum, Dijon) and Crucifixion of Pietro (Poland Petzol Museum, Milan). "Crucifixion with Maria, John and Maria Magdalina" (National Pinakotek, Siena, Inv. No. 147, 82 × 42.5) on the composition, proportions are a close analogy to the Hermitage picture; The figure of a crucified Christ is repeated in both cases almost unchanged. In cat. 1976 "Crucifix" by analogy with the altar from Dijon dated 1335-1340. Based on comparison with the "crucifix" from the National Pinakotek in Siena, it seems more convincing to date the Hermitage picture of the second half of the 1320s (see: Mostra di Opere d'Arte Restauraate Nelle Province di Siena E GROSETTO. Genova, 1981, p. 47).
Origin: post, in 1910 of the timing. Earlier: MAX in St. Petersburg, acquired for Ah Vicezidite Prince G. Gagarin, Hermitage catalogs: Cat. 1912-1916, No. 1944; Cat. 1958. With. 123; Cat. 1976, p. 106 Literature: VSevolozhskaya 1981, № 3

Close relationships existed between Florence and the second major city of Tuscany - Siena. In a certain sense, these two schools with antipodes. In Florence with its constant desire for democratic freedoms, monumental art, speaking by the language, simple and clear, interest in space prevailed here. In the conditions of the aristocratic seaman, the monumental paintings preferred machinery, sought to elegance, decorativeness, color harmony. Syen lighter Florence digeted gothic lessons.
The largest master of the Siena school of the first half of the XIV V.- Simon Martini (about 1284-1344) in its temperament was a penetrating lyrics in painting. Like no one else, Simone managed to make a line of transmission to the transmission not only forms, but also sentiment. In the works of Martini, the color is marked by the wealth of finely selected combinations of a typically seen festive.
The exhibition shows the detention of Diptych with the image of Madonna from the Scene "Annunciation" Simone. According to V. N. Lazarev, ".. This is a precious icon, which is one of the pearls of the Hermitage Assembly. The purity of their lyrical sound and on the singers of their lines can only be matched with the best sonnets of Petrarch. "
Along with Simon Martini, the Lorenzetti brothers, Pietro (worked with 1306-1348) and Amrajo (Uss. 1321-1348) played an outstanding role in the development of Siensky painting. Perhaps both of them became victims of "black death", which took more than half of the inhabitants of Tuscany. There is an assumption that the brothers headed the big workshop whose works were widely fame in Siena. Relying on the achievements of Florentinians, Lorentzetti sent attention to the promising expansion of the space, at the exact way of expressing thoughts in artistic images; Both distinguished the ability to lead a lyrical story, create a fascinating story based on impressions of the surrounding life. It is worth noting that Ambrodzho demonstrated in the "Allegory of Good Board", one of the famous frescoes in Palazzo Pubblelo, not so frequent for painters of that time interest in antiquity.
In the second half of Kreteno, Siena did not put forward a single artist of Simone Martini or Lorentzetti brothers. During this period, the NCCCO DI SO SOCHSTSO (1340-1360-E) worked, whose creativity was "discovered" only in the 30s. of our century. The works of this master are a bit, and the more importantly that the Hermitage Foundations are relatively recently discovered by Madonna with a baby "Piccolo's work. After having experienced the influence of Martini and Lorentzetti, S. Sotszo, undoubtedly, had contacts with Florentine culture, which confirms the thing in our meeting. In it, plasticity, equilibrium composition, the monumentality of figures are organically combined with a purely seen color gamut, gentle and bright.
One of the first representatives of international gothic in Siena - Bartolo di Fredi (worked with 1353-1410) -Wekovodil actively worked the workshop. Describing the peculiarities of this pan-European style of the verge of two centuries, A. Ershi wrote: "The longing of the nobility was reflected in the past not only in the subject of ordered paintings, but also in the style of painting, because I was resurrected already in the decline of Gothic. The arts were waiting for the praise of romantic (in the initial sense of the word) perception of life facing the past - to the knightly novels; waited for compensation, remuneration for lost in real life position, and it often led to unbridled exaggerations. As a result, the cult of amazing luxury, idealization, consciously distorted reality, and a stylized language, - that is, all that characterizes the international gothic. "

Madonna with a baby; Four saints
Tree, tempera 40x16. GE 6665, steam room to GE 6666.
Left Diptych Solder.
On the scroll in the hands of John a half-rated inscription: EC1 / VOX / .. .na / Ti. / ES / RT.S (/ se / eye blatant in the desert). Gospel from Matthew, 3, 3.
Crucifix; Four saints
Tree, tempera 40 × 16. GE 6666, steam room to GE 6665.
Right detection of diptych.
Among the saints on the left dedication of diptych can be identified by the SV. Nikolay, St. Christopher, John the Baptist. On the right - St. Francis and St. Elena.
Likhachev (1911) considered Diptych Italian work of the XIV century, Talbot Ricce (1940) - the work of the Venice School of the XIII century, Lazarev (1954, 1965) was attributed to the group of monuments, "occupying a separate place in the Venetian painting of the first half of the XIV century." And connected him with works of masters, the initial point of creativity of which was miniature painting. In Diptyja, the Byzantine features are connected (the type of Madonna with the baby playing on her hands, the inline layout of the figures) with the Gothic (the elongation of proportions). Lazarev brought the Hermitagous fold with icons with scenes from the life of Christ: one of them is stored in the City Museum of Trieste, the other in the State Museum of Western and Eastern Art in Kiev.
Pallukkini (1964), conventionally called the artist "master of the Leningrad diptych," did not see the connection between the Hermitage work and the icon from Trieste, but agreed that Diptych was created in one bed with a picture from Kiev, as well as triptych from the Archaeological Museum in Speed \u200b\u200bsummer.
In cat. 1958 and 1976 Diptych was listed by the work of an unknown artist of the Rimini XIII century.
Origin: post, in 1923 from the timing. Earlier: Cons. N. P. Likhacheva in St. Petersburg.
Hermitage catalogs: Cat. 1958, p. 141; Cat. 1976, p. 116.

A typical example of international gothic at the exhibition serves as polyptypes, performed, possibly in the nearest surroundings of one of the most significant adherents of this style, Gentile da Fabryano (about 1370-1427), who worked in different centers of Italy. The fragile fragility of the contours highlights the shape of five sophisticated-elegant saints on the shining background, and the color gamma of the altar is gorgeous surprise of color combinations.
After Jotto's activities, the Byzantine tradition turned into one of the most conservative terms Kreitto. But it was she who stubbornly followed Venetian painting XIV century.
The rich Patrician Republic, the "Pearl of Adriatic", thanks to the trade routes connected the West with the East. Its constant contacts with Byzantium led to the fact that the aesthetics of the Byzantine painting Venice perceived easily and organically, as something, and not brought from the outside. Greek masters were constantly working in the city, in particular, they mainly worked on the mosaic decorations of the Cathedral of San Marco.
Among Venetian artists, the Byzantine heritage of Paolo Venetciano was creatively interpreted (worked 1333-1358). Perhaps some of the followers of Paolo are made by the "Patterns of Christ in the Jerusalem Temple". If you compare this fragment with the works of the Florentine and Sienskaya school, it is felt as far as we are immersed in medieval images and views. This is the work, in our opinion, serves as a visual illustration on the exact characteristic of medieval thinking M. Dvorakik. So the embodiment of the "Non-mercy of the Divine Thought" is in the picture of the Patterns of Christ that Katzheno in his relationship with the surrounding people and the building of the temple, sipping this ratio, you understand that it is Christ that is all over everything, without everything in everything. "
Such an embodiment of the incomprehensibility of the Divine thought is in the film Patterns of Christ, which is expressed in his relationship with the surrounding people and the temple building. Evaluating this ratio, you understand that it is Christ that is needed to everyone, under everything, beyond everything, in everything.
The expression of the Hermitage Icon was appreciated in art historical literature: "Currently I don't know another such work, which could be compared with a small board, the only part of the preserved polyptic with the image of Christ among the wise men, stored in the reserves of the Hermitage: a unique fragment In kind of expressive strength, almost Chimabuevskaya, "wrote R. Pallukkini.
When you get acquainted with the works of the Venetian school, exposed at the exhibition - and all of them mainly refer to the second half - the beginning of the XV centuries, - then it is to be surprised how quickly by the end of the XV - the beginning of the XVI centuries - Venice caught up, and in many ways And ahead of the best School of Quatrocheto - Florence.
Obviously, at present, the peculiarities and importance of the Pisa School of Painting XIV century are not yet fully identified. It continues to exist that the Pisa is in this time to the art of other cities. But the main flourishing of Pisa painting survived in the previous XIII century. It is by this period that one of the earliest monuments at the exhibition is a cross depicting the "Crucifix" of Ugolino di Tedich (he worked in the second floor. XIII century). This cross confirms that on the basis of Tuscany PPZU absorbed and transformed the envelover of the Byzantine forms.
The beginning of the early Renaissance is fairly associated with a support discreted by Italian masters in antique art. But far from one antiquity was the source of revival. Without preparation traveled in the XIV century, the emergence of a new system of thinking, new art would be impossible. Renaissance absorbed not only antiquity, but also the naturalism of Gothic and the traditions of Byzantine painting. No matter how the Byzantium transformed various forms, the "figure of a man who stood in the center of interest of ancient artists remained for the Byzantines, the main subject of the image."
Although Treteno was not "ineptful," as Vazarn appeared. Italy was supposed to go through this century to open a new page in the history of art, which is associated with us with the highest achievements of human genius.
This exposition could not be carried out without the huge work done by the Hermitage Restaurants. I use the case to express them all, especially T. D. Chizova, its deep appreciation. They, removing old records and multilayer varnish, returned the pictures there. Where it was possible, the pristine freshness and shine of the paints.

FOPPA, Vincenzo FOPPA, Vincenzo
Born in Bresche about 1430, died in 1515/16 in Milan. Lombard school. Tested the influence of Donat De'bardi, Manteny, Bellini, Bramte. Worked in Pavia, Bresche, Bergamo, Milan.
St. Stephen
Tree, tempera 89 × 34. GE 7772, steam room to GE 7773.
Polyptych sash.
On the Nimbe: Sancvs Stefanvs Promar- Tirvs.
archangel Michael
Tree, tempera 91 × \u200b\u200b34. GE 7773, steam room to GE 7772.
Polyptych sash.
On the nimble: Sanctvs Mich .. .gelvs traffic. ..
Polyptich's sash belongs to the early stage of the activities of the FOPP, one of the largest representatives of the Lombard school during its transition from Gothic to the art of Renaissance. In this work, the artist tried to connect the traditional lessons of Lombard art with advanced trends of the Netherlands painting. In the iconographic relationship, calm figures of saints easily fit into the usual scheme, while the problem of light perceived fresh and directly. With the interest peculiar to the Netherlands, the FOPPA transmits the game of light on the metal armor of Archangel Mikhail, and his softer gliding on the sharp folds of Dalmatics St. Stephen.
As the doctor proved (1986), the sash of the Hermitage was part of the same polyptic as two boards with the image of John the Baptist and St. Dominica from the private assembly in Bergamo. The sizes of fragments are the same golden districts. It is especially significant that low parapet, which costs each holy, is located at one level. The artist seems to imply a single space for all figures. Obviously, in the center of Polyptich was Madonna with a baby, which John the Baptist indicates.
The physician calls as a prototype for the shape of St. Stephen "St. Stephen »Donato De'bardi (Cycon Chicken Mozzoni, Milan, Play: Zeri F. Diari di Lavoro 2. Torino, 1976, Fig. 41).
The physician dates all the flaps of about 1462 and rightly notes in them the combination of a pawn barded tradition with the Dutch trends, perceived by the young FOPP due to the study of Donat De'bardi samples.
The sash entered the Hermitage as a work of an unknown Lombard artist XV century, then work began to be considered! Biggon Circle. In cat. 1958 and 1976 are included as the works of the FPPA school. This attribution was made by Vsevolozhskaya (1981) on the basis of comparison with Polyptich Di Santa Maria della Grazia (Brera, Milan, Inv. No. 307) and "St. Catherine and St. Agnes "(Walters Art Gallery, Baltimore, Inv. No. 37.706). Vsevolozhskaya first drew attention to the similarity between the Hedgetes and Holy Dominica "from the private columury. in Bergamo.
Origin: post, in 1921 through the GMF. Earlier: Cons. N. K. Roerich in St. Petersburg; Cathedral Colonel Mojardini in Florence (according to the previously existing inscription on the turnover of one of the flaps).
Hermitage catalogs: Cat. 1958, p. 203; Cat. 1976, p. 146.
Literature: Vsevolozhskaya 1981, No. 33. 34; Medica M. Quattro Tavole Per Un Polittico di Vincenzo Foppa.- Paragone, 1986, 431-433, p. 12-14

Fungai, Bernardino Fungai, Bernardino
Born in 1460 in Siena, died in 1516 there. Sienskaya school. He studied at Giovanni di Paolo, experienced the influence of Francesco di Georgho, Pietro di Domenico, Perugino, Signorelli. Worked mainly in Siena.
Big cattle Scypion African
Tree, oil, tempera. 62x166. GE 267. Casson board.
Under the figures of the names of the actors: Sponsvs; Lvceivs; Scipio; Lvcei Filia. Over the figure: lelivs.
The plot is borrowed from the "Roman history" of Tita Libya. According to Libya, commander commander! Cornelius Scipion (235-185 BC), called African, after taking a new Carthagen, he returned the captive girl to her fiancé alliance, and the ransom suggested by his parents per daughter handed all the wedding gifts.
Following the tradition that established in the painting of the Kasson (chests for the storage of dowry), Fungai combined three different episodes in one scene. In the center of Szipipion, African returns the bride to the bridegroom, on the left of Alluts heads the riders granted to them at the disposal of the generous commander, on the right - the warriors lead the captive to Scypion.
The action unfolds against the background of a detailed landscape that issues the influence of the Umbral School. Picture at Pietaliana a Pietroburgo .- 'L'Arte, 1912, FASC. 2, p. 123-124; Warriors 1922, p. 75; Weigelt S. Die Sienesische Malerei Des Vierzehnten Jahrhun- DERTS. Firenze - Mtinchen, 1930, S. 73, 111; Marie R., Van. 1924, 2, p. 90-92; Lazarev 1959, p. 284-285, approx. 264; Italian painting XIII-XVIII centuries. 1964, № 2; Berenson 1968, r. 119; Vsevolozhskaya 1981, № 4, 5
the steps were listed by the work of an unknown Umbrian artist. In cat. 1922 was included as the work of the Circle of Pinturik - Kyuo. Fungai could experience the influence of Pinturikko, when he worked in Siena in 1508-1512. Based on the effects of Pinturikocho, the wall of the Casson is dated a late period of Fungai's creativity - 1512-1516. Now the existing attribution adopted by all researchers is made (orally) O. Siren.
Pair to the "generosity of Scypion of African" Casson Board "Death of Sophophyux" is stored in GMI. Both compositions are built according to one principle and the central figures are repeated almost completely. Origin: post, in 1902 from the columns. F. Rus-owl in St. Petersburg
Hermitage catalogs: Cat. 1907-1912, No. 1892; Cat. 1958, p. 206; Cat. 1976, p. 147-148 Exhibitions: 1922 Petrograd, No. 48 Literature: Thieme U.- Becker F. Allgemei- Nes Lexikon Der Bildenden Kunstler. Leipzig, 1916, S. 587; Warriors 1922, p. 77; Borenius T. Unpablisched Cassone Panels III.- The Burlington Magazine, 1922, April, P. 189-190; Schu- Bring P. Cassoni. Truhen und TruhenBilder der Italienischen Fruhrenaissance. Leipzig, 1923, 1, S. 138, 355; Berenson 1932, p. 211; Marie R., Van. 1937, 16, p. 481; Pigler A. BarockTheMen. Eine Auswahl Von Verzeichnissen Zur Iconographie Des 17. Und 18. Jahrhunderts. Budapest, 1956, 2, S. 404; Italian painting XIII-XVIII centuries. 1964, № 29, 30; Berenson 1968, p. 150; Vsevolozhskaya 1981, No. 45; ITALIAN CASSONI FROM THE ART COLLECTIONS OF THE SOVIET MUSEUMS. LENINGRAD, 1983, № 15-19

Paolo Venetsiano (Maestro Paolo), follower
Paolo Veneziano (Maestro Paolo)
56. Patterns of Christ in the Jerusalem Temple
Tree, tempera 25x18.5. GE 6670. Fragment of polyptic. The gospel of Luke, 2, 42-52 following the laws of Byzantine painting, the artist does not create a closed space in which the action takes place. Christ is depicted at the same time in the temple and outside him - he dominates all and everyone. There is no and can not be a single point, with which the scene would be perceived, as it is focused not so much on the real, how much to the inner vision of who considers it. But with general trends characterizing the Byzantine direction in the Venetian painting of the XIV century, the master extremely expressively transfers the glow of passions - despair, mastered by the elders, with. 3; Venturi L. Saggio Sulle Opere d'Arte Italiana A Pietroburgo.- L'Arte, 1912, FASC. 2-3, p. 123; Reinach S. REPERTOIRE DE PEINTURES DN MOYEN AGE ET De La Renaissance (1280-1580). Paris, 1922, 5, p. 314; Meiss 1951, p. 169; Meiss M. Notes On Three Linked Sienese Styles.- The Art Bulletin, 1963, 45, March, p. 47; Klese 1967, S. 249; De Benedictis 1979, p. 24, 96 of which the fractions of Christ exceeded wisdom, attention, with which Maria and Joseph listened to the words of Christ.
Lazarev (orally) determined the picture as a work of Lorenzo Venetsiano; in cat. 1958 and 1976 The work is included as the work of Paolo Venetsiano (?). Pallukkini (1964), who first published a fragment, also believed that his author was connected with Paolo Venetsiano and worked at the beginning of the second half
XIV. The artist undoubtedly detects the points of contact with Paolo Venetsiano, and in particular with the Master polyptic from the Academy in Venice (Inv. No. 16), in connection with which Pallukkini pointed out (1964). However, unlike the creator of the Venetian polyptic, the author of the Hermitage fragment remained alien to the innovations of the Gothic style. Origin: post, in 1923 from the timing. Earlier: until 1914 Cathed. N. P. Likhacheva in St. Petersburg Catalogs of the Hermitage: Cat. 1958, p. 148; Cat. 1976, p. 120.
Literature: PALLUCCHINI 1964, R. 56.

Unknown artist of the Florentine school of the end of the XIV-early XV centuries.
Scenes from the lives of Christ and Mary
Tree, tempera 42x54 (in the frame 50x61,5]. GE 4158
Top row: Annunciation (Gospel from Luke, 1, 26-38); Mary meeting with Elizabeth (Luke Gospel, 2, 39-56); Christmas of Christ (Gospel from Luke, 2, 6-7); Bringing to the temple (Gospel from Luke, 2, 22-8); Methods of Christ in the Jerusalem temple (Gospel from Luke, 2, 41-52); Praying about the bowl (Gospel from Matthew, 26, 36-44; from Mark, 14, 32-42; from Luke, 22, 39-46). Middle row: Bacheliness of Christ (Gospel from Mark, 15, 15; from John, 19, 1); Certificate of Christ (Gospel from Matthew, 27, 28-30; from Mark, 15, 17-19; from John, 19, 2-3); Cross carrying (Gospel from Matthew, 27, 31-32; from Mark, 15, 20; from Luke, 23, 26; from John, 19, 16-17); Crucifixion with Maria and John.
Lower range: Resurrection of Christ; Ascension of Christ (Gospel from Mark, 16, 19; from Luke, 24, 51); Descent of St. Spirit (Acts of Apostles, 2, 1-4); Ascension of Madonna (La CXVII, 1), Coronation of Madonna (LA CXVII, 1).
In fifteen scenes (five in each row), the artist in a somewhat naive manner, with love for a thorough and entertaining story presented various episodes from the history of Christ and Mary.
Judging by the manner of execution, this minor master worked in Florence at the end of the XV century. He undoubtedly experienced the influence of Baldovinetti, Rosselly, Domenico Gilladayo, Botticelli. For example, the wall with the cypressions visible behind it is a motive, ascending to a number of works of Baldovinetti. The figure of Mary in general is close to Madonne in the "Annunciation" of Baldovinetti (Uffizi, Florence).

St. Bernardpn Siensky
Tree, tempera 41 × 31 (in the Gothic frame 49 × 36). GE 4767. Part of the polyptic.
On the scroll in the hand of St. Bernardine: Pater Manifestavi Nomen Tuum Hminbs (Father, I opened your name to people). Gospel from John, 17, 6.
In cat. 1922 and in cat. 1957 and 1976 Saint was not identified. Depicted sv. Bernardine Siensky in the robe of the Order of St. Francis, a member of which he became in 1402. Iconographically, this is the TPP of the elderly monk-Askta, in this case it is recognized by one of its attributes: on the scroll of the inscription with the words from the Gospel of John (see: Kaf- Tal G. Saints in Italian Art . Iconography of the Saints In Central and South Italian Schools of Painting. Florence, 1965, p. 198).
In cat. 1922 The picture was attributed to the North-Malian artist (?) Of the end of the XV century. It appears that the author of the Hermitage Fragment could be the Siena Master, who worked in the middle of the XV century, and not only because one of the most popular Siena Saints is depicted, but also because the interpretation of the image and forms gives reason to assume that the author of the picture could come into contact With the circle of Sano di Pietro.
Origin: post, in 1920
Hermitage catalogs: Cat. 1958, p. 142; Cat.
1976, p. 116.
Exhibitions: 1922 Petrograd, No. 15 Literature: Warriors 1922, p. 76.

Scenes from the lives of St. Juliani di column
Tree, tempera 73 × 64.5 (size of each brand 28 × 30). GE 6366. Part of the polyptic.
In the left top brain above the heads of the nuns: Veat / Gvliana. Above the head of Christ: ic.xc. In the right upper brain between the angel and St. Juliana: Bea / Ta Gvli / Ana. Above the group in which Juliana is located: Beata / Gvliana. In the lower right of the brand above the deceased Juliana: Gvliana veaf.
Pallukkini (1964) suggested that the Hermitage fragment was the left part of the polyptic, which was previously in the Church of St. Biangio and Cataldo on the island of Judecke, and the central part of him was the board with the figure of St. Juliana (Private Coll., Venice, Play: Pallucchini 1964, Fig. 599).
Depicted several episodes from the history of St. Juliana. Julian Di Collanthova (1186-1262) - Historical, founder and first lap of the monastery of St. Vijo and Kataldo on the island of Judecke. The beginning of the cult of holy refers to the end of the XIII century.
In the upper left brain, the holy takes bread from Christ, having lost nuns from hunger. In the right upper brand, the figure of Juliana is repeated twice: she prays an angel about the healing of a nun, broken his hand about the tombstone, and here herself heals the young man. The artist depicted him holding third, broken hands. In the lower brain, the construction of the monastery is depicted on the right. The last episode refers to the posthumous history of the Holy. After her body was buried in the cemetery church of the monastery, a mysterious light was visible above the tomb. The sarcophagus opened in 1290 and found that the remains of Giuliana are not touched by a quench, her body was transferred to the monastery, and people, coming to the tomb, began to heal. A married couple with a sick child is presented.
The plot of the fragment was correctly defined by Pallukkin (1984), who attributed the picture to the Donato Master - a relatively conservative artist of Circle Paolo Venetsiano and dated her 1360s. Before that, in the Hermitage "Scenes from the life of St. Juliana ", who received as a work of an unknown Italian artist of the XIV century, were included in the cat. 1958 as "scenes from the life of St. Julites »Work of the Paduan Master Judo di Giovanni de Menabio (?). V. Lazarev (orally) found that the Hermitage picture should be excluded from Paolo Venetciano. The same opinion adhered to Muraro (1970).
Origin: post, in 1923 from the timing. Earlier: Cons. N. P. Likhacheva in St. Petersburg Catalogs of the Hermitage: Cat. 1958, p. 94; Cat. 1976, p. 116.

Unknown Artist of the Venetian School XIV V.
St. Philip and Sv. Elena
Tree, tempera 64 × 39. GE 6704. Pair to GE 6705
On a gold background near Namibov Saints: .S / F / I / LI / P SCA / LE / NA.
Lawrence and St. Elizabeth
Tree, tempera 64 × 39. GE 6705. Pair to GE 6704
On a gold background near Namibov Saints names: S / L / A / VR / EN / CI / VS S / EL. / BE / TA.
The figures of the saints were made by the artist, striving for monumentality, the clean sound of bright colors. Sharp contours emphasize the rigid interpretation of the folds.
There is a group of works, which include "saints" from the columns. Hermitage. They are written, apparently, an artist associated with the workshop (mosaic) with the Cathedral of San Marco (Lazarev 1954, 1965). These works include a "terrible court" (museum of arts, Worcester, Massachusetts), "Francis Assisi, an unknown holy, St. Catherine, St. Nikolai "(Galerai Sabauda, \u200b\u200bTurin). Pallukkini (1964) conventionally called the artist "Master of the Scary Court", SchPataya, that this is one of the most interesting individuals of the Venice School of the second quarter of the XIV century.
Lazarev (1965) allowed the possibility that the "terrible court" and "saints" from the Hermitage and Galera Sabauda were the original altar. Devis (1974) did not see enough reason for such an assumption.
By analogy with the "terrible court" (see: Devies 1974), the Hermitage fragments could be made between 1325 and 1350.

Unknown artist of the Venetian school of the first half of XV V.
Madonna with a baby, St. Francis of Assisian and St. Vintsy Ferrer
Tree, tempera GE 6663. 180 × 169.5 on the book of St. Vinzenta: TIMET / EDEUS / ETDAT / EILLIHO / NORES./ Quia / Venit / Horaim / Dicii / Eius. (Fight God and give him fame, for the hour of court came). Revelation of John, 14, 7. Above the head of Madonna under the patch frame of the remains of Greek inscription with red paint: MR 0V (Mother of God). Immediately paint strokes are the trial palette of the artist, which swept the color combinations. At the bottom of the frame - the coat of arms of Venetian Matteo and Medio; The coat of arms entered the circle, on the preserved part of the field - the motive of the "Belich Fur". Two Circles on the sides of the coat of arms inscribe the name of Matteo Yes Medio: MTTV DMO. At the stage of the throne in the right-hand side of a person separated from us for centuries, scratched a pattern of a sailboat.
A similar type of composition - Madonna with a baby on the throne and the saints, standing around him, got the name "Holy Interview" ("Sacra Conversazione"). The image was given out of a real situation, without a specific motivation, as something timeless, eternal. The central figure (as on the Hermitage picture) could be allocated in size, which emphasized its primacy with significance; Side (the number could be different) - as equivalent. A similar type of composition filled with new content will exist throughout the revival era.
In cat. 1958 Holy in the right part of the picture was incorrectly named Dominic. The text from the "Revelation of John" on the book and the gesture, pointing to Christ in Mandorle, testify that it is represented by SV. Winezzene Ferrer (see: Kaftal G. Saints in Italian Art. Iconography of the Saints In Central and South Italian Schools of Painting. Florence, 1965; See also: KAFTAL 1978).
Likhachev (1911) considered an icon with a rare model of the Criton-Venetian school of the XIV century. Schweinfurt (1930) was inclined to the fact that the picture may be included in the number of Venetian works of the XIV century. At the same time, he noted a very close relationship between the Venetian artists and Italy-Byzantine workshops in Venice. Bettini (1933) added that the icon is planned between the Venetian and Credit Traditions.
Lazarev (1954, 1959) attributed a picture of the workshop of Katerino and Donato, dating 1370s. Pallukkini (1964) explained the difference he saw in a manner between central and side figures, the fact that Madonna could be performed by Donato, and the saints perhaps Katerino.
J. Fiocco (orally) attributed the picture of Jacobello di Bonomo. With this attribution, the picture is included in the cat. 1958, and in cat. 1976 - as the work of an unknown Venetian artist
XIV.
The Museum of the Correll in Venice stores icon with the image of Madonna with a baby on the throne (61x48), repeating the compositionally central part of the Hermitage work. The Museum catalog attributed to the artist of the Creto-Venetian school began the beginning of the XV century. (See: MariaCher S. II Museo Correr Di Venezia. Di- Pinti Dal Xiv Al XV SECOLO. Venezia, 1957, p. 131-132).
In the cat. Willamsen in Copenhagen is "Madonna with a baby", compositely close to the central part of the Hermitage painting. 1325 dates back (see: Willumsen J. E. La Jeunesse du Peintre El Greco. Essai Sur La Transformation De L'Artiste Byzantin en peintre europeen. Paris, 1927, 1, p. 75).
Pallukkini (1964) believed that the icon from the museum corrector repeats the Hermitage in a more fractional and decorative manner, and the icon from the Camp. Willamsen, in turn, is the repetition of the version from the Museum Correll.
The picture from the Hermitage could hardly be created earlier than the first half of the XV century, as it rightly dated her caftal (1978). The basis for such dating can be the image of SV. Winster Ferrera (1350-1419), canonized in 1455. He could be depicted before canonization, but hardly in life already in the image of the saint standing at the throne of Madonna.
Thus, the creator of the Hermitage Icons rather repeated the previously established composition with the image of Madonna with a baby, and the work from the Museum of the Correll and Cons. Willlamsen is preceded, and not repeat the central part of the Hermitage work.

Miracle with the guests
Tree, tempera 15x35. GZ 7657. Part of the limit.
When entering the Hermitage plot, the paintings were defined as genre, and under the name "shop" it was included in the cat. 1958.
Proper decoding of the plot belongs to Gukovsky (1965, 1969). As a source, he turned to the "depiction of one of the wonders of the Body of Christ" - a book published in Florence at the end of the XV century. And now known in three copies (one - in the library of Corsini, Rome; Two - in the Camp. Trivulzio, Milan). The book consists of sixteen pages and is a kind of "scenario" of one of those ideas that were often played in Florence in the Renaissance Epoch.
Three episodes are depicted on the Hermitage picture. In the left side of GulSlmo Jambekkari, drinking wine, loses in the accuracy of money. In the right part, the wife of Gulelymo comes to the Jewish Roshchik to buy a dress laid down with her husband. Roshovist Manuel demands that the woman brings him in return to the living (the cloud for communion). It is immediately represented as Manuel burns the brought the living on the roaster, puzzles her with a sword, and a miracle happens: the cloud, symbolizing the body of Christ, begins to bleed.
The engraving on a tree illustrating the "image of one of the wonders of the Body of Christ", which Gukovsky compared with the Hermitage fragment, is very close to the right part of the picture, so he suggested that Engraving served as a prototype of a picturesque decision (Play: Goukovsky 1969, Fig. 2).
Gukovsky considered that, due to a small size, this work could be a limit of a small portable altar, but rather served the decoration of the furniture.
According to Gukovsky, the author of the "miracle from the guest" was either accounted for, or someone from the artists of his workshop. However, this is contrary to the comparison with the limit for the plot "Desecration of the Hotels" (National Gallery, Urbino). The clarity and novelty in building space at the accuracy is very different from a more conservative solution of space in the Hermitage Production. Origin: Post, in 1933 from the Camp. B. N. Chicherina in Leningrad.
Hermitage catalogs: Cat. 1958, p. 142; Cat. 1976, p. 117.
Literature: Gukovsky M. A. The so-called "shop" of the Hermitage and its probable author. Theses of the scientific session reports, devoted to the results of the work of the State Hermitage for 1965. L, -M., 1966, p. 39-41; Goukovsky M. A. A Representatione of the Hermitage and Its Possible Author.- The Art Bulletin, 1969, 101, p. 170-173.

Master of Triptych Imole
He worked in the first half of the XV century. School of Emilia. Tested the influence of Venetian masters and Lombard miniaturists. The group of works of this master, close to Antonio Alberti, was highlighted by Padovani on the basis of similarity with Triptych "Madonna with a baby, St. Christina and Peter Martyr "from the columns. Pinakoteki Imola (See: Padovani 1976, p. 49--50).
Madonna with a baby, John the Baptist of Antonle Abbat
Tree, tempera 43.5 × 29.5. GE 9751 At the bottom of the right to the Madonna Cloor unintelligible fake signature and the date of the MSSs. In the upper left corner on the scroll of the Prophet Isaiah: IAE ..PPFTE. In the upper right corner on the scroll of the Prophet David: DAVT PPFTE. On the book in the hands of the Father's God: Ego Sum / Lux Mn / di Qui Sequitn / Me n..ambu / Lat i TE / Nebr; s. (I'm the light of the world, who will follow me, will not walk in the darkness). The Gospel of John, 8, 12. On the scroll in the hands of John the Baptist: Esse Agnus Dei (CE Lamb of God). Gospel from John, 1,
29, 36. On the same scroll, the remains of the letters of his name: Ogah.
The signature and date refer to the XIX century, which proves the presence of zinc-proteins in the paint. At the bottom under the layer of varnish, on which there is a signature and date, they are not repeated.
The composition is built so that an ornamental three-part framing separates the prophets from other characters; Thus, it was shown that the prophets of Isaiah and David precede Christ and at the same time predict his appearance into the world.
God-father points to the baby, explaining the gesture to whom the evangelical lines are drawn, drawn on the book.
The picture came as a work of an unknown North-Malian artist XV century. It can be defined as the work of the Master of Triptych Imola, as it discovers close resemblance to a number of paintings attributed to him. This is "Christmas" (in 1910 was the Antiquary Paolini in Rome; Play: Padovani 1976, Fig. 38); "Welcome Magnies" (Coll. Kister, Crazlingen, Play: Padovani 1976, Fig. 39); "Madonna Himphenia" (Cashier Di Risparmio, Ferrara, Play: Padovani 1976, Fig. 33).
Not only individual details are repeated, but it is much more important, in all these works there is a single stylistic beginning. Provincial artist, which was the master of Triptych Imola, working already in the first half of the XV century, preferred an extra-promotional solution to the space. Figures are inherent in strict verticalism, slightly softened by a slight tilt of the heads, the face is drawn hard and carefully. It is often introduced ruby-red as a color accent (in the Hermitage picture - these are the robes of the god father and the baptist).
Date - 1430s, - the proposed emptying for the "Christmas" and "worship of the Magi", by analogy can be accepted for "Madonna with the Baby and Saints".

Master of the married couple Datini Maestro Dei Coniugi Datini
He worked in the second half of the XIV century. Florentine school.
Blessing Christ
Tree, tempera Diam. 43 (TDDO). GE 270. Top of the painted cross.
In the XIV century In Tuscany and, in particular, in Florence, painted crosses with the image of the crucifix were widespread. Often at the top they were decorated with medallions with a semi-imaging of a blessing Christ. Such an appointment also had an Hermitage Tondo. The iconographically blessing Christ refers to the type of Pantokratcher's type (see: Lexikon der Christlichen Ikonographie. Rom; Freiburg; Basel; Wien, 1968, 1, S. 392-394).
Tondo entered the Hermitage as a work of an unknown Tuscan master XIV century. Circle Jotto. According to the information provided in the cat. 1922, Ainalov attributed Mod Tommazo Gottino, and Lipgart - Bernardo Duddy. Lazarev (1928) believed that the work was carried out under the direct influence of Jotto, and dated it 20 years of the XIV century.
In cat. 1958 and 1976 Fragment entered as the work of the Jotto School: Ambrogo Di Bon Done (?). Corti (1971) published the Hermitage TDDO as a work of an unknown Florentine Masters of the second half
XIV. Boskovic (1975) included it in the list of Pietro Nellie pictures. With this attribution, Tartuferi agreed (1984). As an analogy, he brought a medallion with the image of a blessing Christ, the final "crucifix" from the Church of San Donato in Piezho, Piere, School of Pietro Nellie. Noting a much higher quality picture of the Hermitage, Tartuferi pointed to the similarity in the interpretation of hair, clothes and ornaments. On this basis, he suggested that the masters proceeded from one prototype, moreover, possibly from one drawing.
Belleosi (1984) attributed the Hermitage Tondo to the artist, whom he conventionally called the "Master of the Supper of Datini" in the picture "Trinity" (Capitol Museum, Rome), on which there is a merchant coat of arms from Prato, Francesco Datini, and he himself, his spouse and reception The daughter is depicted by crankshaft at the foot of the crucifix. For the Capitolian painting, Belleosi offered a date about 1400. In his opinion, "Masters of the Spouse of the Geese Figh Datini" could be either Tommaso del Mazzo, who collaborated with the Pietro Nelly, and later - about 1391 - from Niccolo di Pietro Jerini, or Giovanni Di Tano Fairy, Worked for Datini family. The similarity between the Father's God on the Capitol Picture and a blessing Christ on the Hermitage Tordo is so great that the belonging of both works in the same master of doubt does not cause. Belleosy hypothesis seems to be quite convincing. Origin: post, in 1910 of the timing. Earlier: Mach in St. Petersburg
Hermitage catalogs: Cat. 1958, p. 93; Cat. 1976, p. 91.
Exhibitions: 1922 Petrograd, No. 3 Literature: Prokhorov 1879, No. 2; Warriors 1922, p. 76; Lasareff 1928, r. 25-26; Corti G. Sul Com- Mercio Dei Quadri A Firenze Verso La Fine Del Secolo XIV.- Commentari, 1971, 22, p. 86; Bos- kovits 1975, p. 420; Tartuferi A. Due Croci Di- Pinte Poco Note Del Treceno Fiorentino.- Arte Cristiana, 1984, Gennaio - Febbraio, p. 6; 12 NOTA 16; Bellosi L. Tre Note in Margine A Uno Studio Sull'Arte A Prato.- Prospettiva, Aprile 1983 - Gennaio 1984, 33-36, p. 46.

Mary of Coronation Mary from Church Church
Maestro Dell'INCORONAZIONE CHRIST CHURCH
He worked in the second half of the XIV century. Florensk school. This conditional name was proposed by Offner (1981) for the works of an unknown follower of the Chione's brothers who have grouped around the "Coronation of Mary" from Church Church in Oxford.
Coronation Marin
Tree, tempera 78.5x49.7. GE 265. Top rounded
On the John: ECC / E / AG / NVS / VOX (CE AG / NVS / VOX (CE) [blatant in the desert]). Gospel from John, 1, 29; From Matthew, 3, 3. At the bottom of the board between the coat of arms of Florentine families Seriborp and Gerandsca: Ave. Gratia. Plena Domin ... (Rejoice, gracious! Lord ...). Gospel from Luke, 1,
28. On the back of the boards, the inscription, which is currently read only in infrared rays: Les Armes ... Sont De La Maison de Seristori ... Autres Sont De Gherardeschi de Florence. Ecole de Toscane (this is the coat of arms of the serristory houses, another Gerandsca from Florence. Tuscan school).
The upper semicircular board, which depicts a crucifix with Maria, John, St. Francis and St. Dominica, was connected to the basis of a later patch frame.
The central composition represents the coronation of Mary by type, which has developed in the Florentine painting of the second half of the XIV century. This corresponds to the location of the figures of Christ and Mary sitting (without a visible throne) against the background of richly ornamented fabric, the acute completion of the crown, isolation of the main actors from the saints of a certain conditional framed, to which drapery is attached.
According to Officon (1981), there are centuries at the coronlation scene. Paul, St. Matthew, Unknown Holy, St. Bartholomew, Ioapn Baptist, St. Louis Toulouse (in the left side of the composition); sv. Andrei, St. Peter, St. Catherine, two saints bishop, St. Jacob (in the right-hand side of the composition), two Muzitsy Angel.
The picture came as a work of an unknown Florentine artist XIV. Lazarev (1959) found that it could be attributed to the school of Bjonde. Offner (1981) attributed to her master of coronaling Mary from Church Church. The closest analogy of the Hermitage picture is "Coronation of Madonna" from the former. Cathedral Luigzhp Bellini in Florence (Play: Offner 1981, Fig. 53). In both paintings, the type of persons, fabric patterns, musical instruments in the hands of angels are repeated.
Origin: Post, in 1899, Dar former. Director of the Hermitage I. A. Vsevolozhsky. Earlier: Cons. Barona P. K. Meyendorf in St. Petersburg.
Hermitage catalogs: Cat. 1900-1916, No. 1851 Literature: Lazarev 1959, p. 296, approx. 311; Offner 1981, r. thirty

Master from Fuceccio.
He worked in the middle of the XV century. Florentine school. The pseudonym for this artist, the works of which most often included the list of works by Francesco D'Antonio, was proposed by Van Marle (see: Marie R., Van. 1937, 16, p. 191-192). He experienced the influence of early works of Mazacho and Siensky painters. Collaborated with Paolo Schiavo. Sometimes the masters from Fuceccio are associated with the master of the Casson of Deli Adimari.
Madonna with a baby and two angels
Tree, tempera 49 × 35. GE 4113 When entering the Hermitage, the picture was included in the inventory as a piece of Giovanni Broketya da Kamenino.
"Madonna with a baby and two angels" makes up a close analogy of work related to the work of the Master of Fuceccio. In his paintings, a completely special type of female face with a straight nose, a small, capriciously defined mouth, and a round, like an apple, chin ("Madonna with baby and angels", Location Unknown, Play: Fremantle 1975, No. 1142; "Madonna with a Baby and angels ", Play. ibid., No. 1143; In the latter case, the gesture of the baby holding the mother for the neck is repeated). The figures of angels, improving hands on the chest, their grace and subtlety contours confirm the contact of the master with samples of seen art.
Origin: Post, in 1922 from the Stroganovsky Palace-Museum in Petrograd.

Master from Marredy
Worked at the end of the XV century. Florentine school. The pseudonym was proposed by Dzerna on the basis of a group of works in the Church of Badia del Bogo near Marradi (see: Zeri F. La Mostra "Arte in Valdesa A Cerialdo" .- Bollettino d'Arte, 1963, 48, Luglio - Settembre, p. 249, Note 15). Master from Marrei is the artist of the circle of Domenico Girondayo, who worked about 1475 in Florence and its surroundings. Scribed the Cassons, showing points of contact with the art of Bartolomeo di Giovanni. At the later stage of creativity (about 1490), Piero della Francesca experienced the influence of Piero.
Madonna in Glava
Canvas temperatures 80 × 48. GE 4129 Madonna is represented in glory, in Mandorrel, surrounded by Cheruvimov. The iconographic similar type of composition is closely closed with the "Ascension of Madonna", when Maria was often portrayed also sitting, in a strictly frontal position, with prayer-folded hands, in Mandorle supported by the angels (for example, the fresco of Antonio Venetsiano "Ascension Madonna", San Tommazo Monastery, Pisa ).
The picture entered the Hermitage as a work of an unknown Florentine mastera of the second half of the XV century.
Now the existing attribution was proposed orally independently of M. Laklot and E. Faim.
The nearest analogy to Madonne in Glory is a picture on the same plot of the Camp. Institute Kurto in London (Play: Fahya E. Some Early Italian Pictures In The Gambier-Parry Collection.- The Burlington Magazine, 1967, March, p. 135, Ill. 31). The similarity of the picturesque manner is manifested in the interpretation of the Madonna's face, in the transfer of round, dense clouds and mandorla in the form of thin gold rays, in the interpretation of folds of clothing. However, Mary's posture on the Hermitage picture is different from the Madonna Madonna Pose of the London Assembly.
Origin: Post, in 1926 from the Stroganovsky Palace-Museum in Leningrad

St. Christopher
Tree, tempera 108 × 46. GE 5504. Completion of the fitted one. Polyptych sash.
On the sphere in the hand in the infant: Asia / Africa / Evropa.
According to legend, St. Christopher suffered a baby of Christ across the river. The artist shows the interests of interest characteristic of the late followers of Jotto: depicts a variety of fish siscending in water (they symbolize evil forces), showing, along with eating and skate, fantastic toothy fish with a fin, reminiscent of the bird wing. Baby to stay on the shoulder of St. Christopher, grabbed the strand of his hair.
At the exhibition 1922 "St. Christopher "was exhibited as a work of an unknown (North-Thalian?) Artist of the middle of the XIV century. In the catalog of the same exhibition, the opinion of Lipgarta, who considered a fragment of the work of the Circle of Gaddi. Warriors (1922) also took the work to the Tuscan school, asking him a circle of Jotto.
Perhaps the rights of M. Gregory (orally, 1985), expressing the assumption that Lorenzo di Biccchi could be the author of this sash; This does not contradict the attribution of lipgart.
Certain stylistic proximity "St. Christopher "discovers with" St. Mikhail "on the sash of the altar from the Church of Santa Maria Assunta, Loro Chuffenna (Play: Fremantle 1975, Fig. No. 848). Similarities can be noted in the formulation of the figure and in the interpretation of forms, especially legs, slightly translucent through short clothing. In both cases, a short cloak with a peculiar pattern of folds at the bottom is depicted.
The Hermitage fragment was created by an artist who knew his craft well: he skillfully seeks the impression of the volume of figures, somewhat rigidly, but clearly simulates face, hair, robes. All this does not contradict the Lorenzo manner, but the stylistic leveling of the art of the late followers of Jotto does not make it possible to finally insist on behalf of Lorenzo di beatchi. Origin: post, in 1919 from the monument protection department. Earlier: Cons. A. K. Rudanovsky in St. Petersburg Exhibitions: 1922 Petrograd, No. 17 Literature: Warriors 1922, p. 76.

Madonna with baby, holy angels
Tree, tempera 52 × 36.5 (in the Gothic frame - 92x54, the framing is covered with new gold). GE 5505.
On the scroll in the hand of John: Esse AG ... (CE Lamb]). Gospel from John, 1, 29, 36
Madonna is depicted sitting on the throne with a baby in his arms, near the throne in the right side of the composition are represented by St. Peter, Archangel Mikhail, St. Elizabeth and Angel; in left - sv. Christopher, John the Baptist, St. Catherine and Angel. In the upper part - Christ on a terrible court.
The picture, which entered the museum as a work of an unknown Siena Master of the beginning of the XIV century, discovers similarity with the works attributed to either the pietro Jiorentzetti, or the so-called Master of the Diaphon Altar. Under this pseudonym dio (see: Dewald E. T. Pietro Lorenzetti.- Art Studies, 1929, p. 154-158) grouped a number of works, stylistically close tryptih from the museum in Dijon (44x50). Previously, they were mainly attributed to the Pietro Lorenzetti, and later many scientists continued to consider the altar of his work (see: Laclotte M. De Giotto a Bellini. Les Primitifs Italiens Dans Les Musees de France. Mai - JuiLlet 2E ED. Editions des Musees Nationaux, 1956 , p. 11-12). In cat. 1922 It was noted that, according to Liparight, the author of the Hermitage Picture is Pietro Lorenzetti. Lazarev (1959) believed that this is the early work of the Master of the Dijon Altar. In cat. 1958 "Madonna with a baby, holy and angels" is included as a work of the Master of the Dijon Altar, and in Cat. 1976 - As belonging to the circle of Pietro Lorentzetti.
I gave way to quality, the Hermitage work is largely (composite, by the type, understanding of space) reminds other than the Dijon altar, "Madonna with a baby, holy and angels" (Museum of Poland Petzoli, Milan, 55x26), "Madonna with a baby" (Coll. Burnson, Florence) Pietro Lorenzetti and Madonna with Baby, Saints and Angels "(Walters Art Gallery, Baltimore); Most researchers attribute the Baltimore picture of Pietro Lorenzetti.
It seems possible to attribute the Hermitage picture to the circle of Pietro Lorentzetti and dawn it with the end of the 1330s - the beginning of the 1340s.

St. Romuald.
Tree, tempera 122.5x42.5. GE 271, steam room to GE 274. Part of polyptic.
Apostle Andrey
Tree, tempera 122x42. GE 274, steam room to GE 271. Part of polyptic.
In 1910, three fragments were enrolled in Hermitage, which in Cat. 1912 were included as works of an unknown Florence Master XIV century.
Two boards - "Apostle Andrey" and "St. Romuald "- remained in the Hermitage, the third -" Madonna with a baby and angels "- in 1924 was transferred to GMII (PNV. No. 176, 164 × 92).
Although in the cat. 1912 All three parts of the polyptic were reproduced nearby, it is unknown, whether they are recognized that they constitute a single altar image. In the future, Lazarev (1928, r. 31), who determined the Moscow picture as a work of Christian, did not consider the sash with the image of the saints as belonging to the same polyptic. Later (1959) he was attributed to their school Nerda Di Chion, perhaps Jottino. In accordance with the attribution of Lazarev, the flaps were included in the cat. 1958 How to work Nerda Di Chion with a question.
To the small Oeuvre Christian Officon (Offner R. A Ray of Light on Giovanni Del Biondo and Niccolo di Tommaso.- Mitteilun- Gen des Kunsthistorischen Institutes in Flo- Renz, 1956, 7, S. 192.) Added two pictures - "St. Bartholomew "and" St. Dominic "from the Museum of Bandini in Fyezol (122 × 42.6 each).
Finally, Dzheri (1961) correctly attributed to Christian Hermitage works and on the basis of the article of the offline fully reconstructed the five-part polyptych, the central part of which is in GMIA, two left flaps in the Hermitage, two right - in the Bandini Museum. The fact that they constitute a single whole prove not only formal moments - the same dimensions of the side flaps, the ornament of the fabric under the feet of the saints, a three-hard-solid spread of the figures to the center, but also the stylistic features of the art of Giovanni di Bartholomeo. Slightly elongated figures in which, however, there is nothing of the fragility of gothic, differ in the sculptural clarity of volumes and almost entirely fill the space. The folds of the clothes lie down in a geometrically applied rhythm. Logical equilibrium noted not only composite construction, but also the color solution of polyptic. Clothing sv. Romuald and St. Dominica, closing the altar, are blameable (Dominica is still shaped with a black cloak), and the elegant brocade of the Sv. Bartholomew is harmonized with a greenish-pink apparel of St. Andrei.
Dzheri (1961) believed that it was depicted not sv. Romuald, and St. Benedict. St. Romald - the founder of the Order of the Kamaldulov, which followed the rules of the Order of St. Benedict. Both could be represented in the White Monastic robe with the staff of the book in the hands. Origin: post, in 1910 of the timing. Earlier: MAX in St. Petersburg, acquired for Mach by Vice President Ah Knyazh, G. Gagarin in the 1860s.
Hermitage catalogs: Cat. 1912, № 1976, 1975; Cat. 1958, p. 140; Cat. 1976, p. 89-90 Exhibitions: 1920 Petrograd; 1922 Petrograd, No. 9, 10 (saints in the exhibition catalog are not named incorrectly - St. Jacob and St. Bernardine).

Madonna with a baby on the throne, St. Nikolai, St. Laurentia, John the Baptist with St. Jacob younger
Tree, tempera 132 × 162. GE 6443. The five-party cliffs.
At the stage of the throne signature: Iohas in .. .tholfe fecit. On the scroll of John the Baptist: ECCE / AGN / DEI / QUI / TOLI .. ./pec.../ (CE Lamb of God, who takes upon himself the sin [of the world]). Gospel from John, 1, 29 Despite the signature, the author of the polyptic was not defined immediately; Flushes of the colorful layer on a crack passing through the middle of the signature, complicated her reading. Just read only the first word - Giovanni and the last - did (FECIT).
Upon admission to the Museum, polyptych was defined as the work of the Tuscan Masters of the XIV century, then Giovanni Menabop.
There are three subscription works of Giovanni di Bartolomeo: Polyptih "Evangelist John and eight scenes from his life" (Church of San Giovanni Furichivitas, Pistoia, dates. 1370); "Madonna with a baby and six angels" (urban museum, piring), "Madonna with a baby" (Coll. Rivuti, Biella, dates. 1390).
Currently, the Hermitage Polyptih, which detects the stylistic proximity to the works of Christian, can be added to this group of work, but what is especially important - the signature on it coincides with the signature of the artist on the Polyptic polyptic. The stylistic comparison shows that the Hermitage Polyptih has been created somewhat later than the phneasky, perhaps in the second half of the 1380s. The artist sought to strict equilibrium geometrized forms of p to clean sonorous color combinations.

Crucifixion with Maria and John
Tree, tempera 85.5x52.7 (in the Gothic frame-103 × 57.7). GE 4131 on the sign of the Cross: I.N.R.I. Below on the frame: Pater Noster Qvies Incielis San- Tifi (Our Father, in Heaven). Gospel from Matthew, 6, 9
In the handwritten catalog of the collection of Count P. S. Stroganova (1864) "Crucifix" was listed by the work of an unknown follower of Jotto XIV century.
M. I. Shcherbacheva (orally) attributed the picture of Giovanni Dal Ponte; This attribution is reflected in the cat. 1958 and 1976.
However, the author of the "Crucifix" is not Giovanni Dal Ponte, who had experienced the strong influence of Lorenzo Monaco and developed gothic traditions in Florence painting, and Niccolo di Pietro Jerini. This artist, according to Lazarev, "makes the tradition of Jot-Teskov in the XV century. like no other, contributing to her degeneration into the academic system, lifeless and schematic "(Lazarev
1959, p. 92).
It is the limitations of the repertoire of the artist in the field of composition, types and gestures, facilitated the definition of the name of the author of the Hermitage Work, which is a direct analogy to "Crucifixion with Maria and John and St. Francis "(National Pinakotek, Siena, Inv. No. 607, 122 × 64).
The most significant difference between the Leningrad and Siena paintings is reduced to the fact that in the last Madonna and John are not standing, but they sit at the foot of the cross and the figure of St. Sv. Francis, hugging a crucifixion.
Niccolo di Pietro Jerini acts as a late follower of Jotto. The conventionality of the space and the gold background with him particularly clearly contrasts with an underlined solution of volumes.
Boskovic dated the Siena picture 1390-1395 (Boskovits 1975, r. 415). The same dating can be accepted and for the Hermitage work belonging to a mature wizard manner, which is different in color and clear drawing. Origin: post, in 1926 from the Stroganovsky Palace-Museum. Earlier: Cons. Count P. S. Stroganova, purchased in 1855 in Rome in Troy for 200 francs.
Hermitage catalogs: Cat. 1958, p. 90; Cat. 1976, p. 89.
Literature: Kustodiyev T. "Crucifixion with Maria and John" Niccolo di Pietro Jerini. - SGE, 1984, [Issue] 49, p. 4-5
Giovanni Di Bartolomeo Christiani Giovanni Di Bartolomeo Cristiani
He worked in 1367-1398, Born in Pistay. Florentine school. Tested the influence of Mazo Di Banko and Nerda di Campon.

Evangelist Matthew (?), St. Nikolai (?), St. Victor (?), St. Louis Toulouse, Evangelist Mark
Tree, tempera 94 × 29 (size of each sash). GE 5501.
Five Painty Polypties. All five boards have one inventory number.
It is not known how polyptypes looked at the initial form, and all the sash reached us. In this work - in the formulation of the figures, in the grace, with what movements of heads and hands are transmitted, in the addiction to richly ornamented tissues, in an extremely exquisite color scheme - the features of international gothic are clearly noticeable.
Benua in the preface to cat. 1922 wrote about the belonging of the five saints "some first-class master from the circle of influence Gentile yes Fabrpano (the possibility of the possibility that we are the work of the master himself)" is not excluded. This opinion seems quite convincing, especially after the recently produced restoration, as a result of which the chromatic wealth and the fineness of the flavor opened.
Gentile da Fabryano (about 1370-1427) was one of the largest representatives of the style of international gothic. He worked in the field of brand, Venice, Bresche, Florence, Siena, Rome.
In cat. 1922 shows the opinions of different researchers about the authorship of the Hermitage Work. Zhardansky spoke in favor of Gentile himself, Ainalov - Umbrian Bopfples. Lipgart believed that Polyptih could be created by Pietro di Domenico Montepulnia. Warriors (1922) took a picture to a circle of Gentile da Fabryano.
In cat. 1958 and 1976 Polypties are included as a work of an unknown artist of the Dalmato-Venetian school XV century, indicating that this work is close to the circle of the Venetian master of Michele Dzhambono, also who experienced the influence of Gentile and Fabrpano.
Obviously, the idea of \u200b\u200bthe proximity to Dzhambono brought polyptypes of this artist from the city museum to Fano or Polyptych's sash with the image of St. Jacob (subscription) from the columns. Academy in Venice. In these works, there is a certain similarity with the Hermitage Figures in the formulation of the Figures on the configuration of the stand and in the interpretation of the folds, but another type of persons, and the shapes themselves are squat and heavy.
The names of the two shrines are not doubted: it is St. Louis Toulouse (or Anjui) is a French bishop in a mantle, decorated with royal lilies, and with the crown at the feet, as well as the evangelist Mark, near which a small lion is visible.
The definition of the rest of the saints is controversial. Saint with a pin in his hands in the cat. 1958 and 1976 named Victor. But none of the Italian saints with this name had an attribute of the millstone. A rare French Saint-Victor Marseilskpi could be represented with Herrow, but he was depicted in the form of a knight with a banner that resembles his appearance of St. George. Among the saints, revered in Italy, Panteleimon could be represented with Herrow. But it was usually emphasized that he firstly healer, and in his hands this dark-haired young man kept a box with pills as sv. Mow and St. Damian.
According to composite logic, a couple of sv. The brand should be someone from evangelists. Since, besides the pen and book, the saint does not have other attributes, it is most likely - Matthew: When all four evangelists were depicted, Matthew, as a rule, held a book.
The Holy Bishop is named in Cat. 1958 and 1976 Nikolai, which is quite possible, although for complete confidence there is not enough ordinary for Nicholas of golden balls.
Origin: Post, in 1919. Earlier: Cons. A. A. Waykov in St. Petersburg.
Hermitage catalogs: Cat. 1958, p. 142; Cat. 1976, p. 117.
Exhibitions: 1920 Petrograd, p. five; 1922 Petrograd, No. 23-27.
Literature: Warriors 1922, p. 76.
Mentioned from 1392 to 1411. A student of his father, Niccolo di Pietro Jerini, worked in his workshop. Tried the influence of Spinello Aretino, with whom she collaborated, and Lorenzo Monaco. He worked mainly in Florence and San Jimignano, as well as in Corton.

Christmas christmas
Canvas (Translated from a tree in 1909 I. Vasilyev), tempera. 213 × 102. GE 4153.
On the Nimbe Madonna: QVIA EX ORTVS EST SOL IVSTICIE CRIST (for the sun's sun rose from you). On the dilution of the dress: Ets BenedictVs FRV (blessed fruit). On the wrist of the sleeves: TYI IHS ([Wheat] yours - Jesus). The gospel of Luke, 1, 42. On the scroll in the hands of angels: Gloria in Excsis Deo (fame in the High God). Gospel from Luke, 19, 38; Gospel from Luke, 2, 8-20.
In the region of the Stroganov Palace 1922 (No. 409), the picture was listed by the work of an unknown German artist. Obviously, this thought brought a fabulous atmosphere, in which the action takes place, and somewhat tough in some cases (Joseph clothing) interpretation of folds resembling wood threads.
When entering the Hermitage, the picture was attributed to the North-Thawed School of the end
XV - early XVI centuries., And in the cat. 1958 included as attributed to Spunkotti, artist of Piedmont school. Finally, D. Romano (1970) called the name of the genuine creator of the work - Gandolfino and Rogeto - and gave a picture of a high rating.
Following the tradition that prevailed in the Piedmont School, Gandolfino treats the Christmas of Christ as a scene, taking place among the ruins in the presence of little angels.
The dilapidated architecture with the antique elements may simply symbolize the paganism, Christianity comes to replace. Latin inscriptions included in the ornament of Mary's dresses and drawn on the scroll in the hands of soaring angels, glorify the newborn. The artist shows a great interest in detail (in particular, a filled wallet on the belt of St. Joseph), many of them are endowed with a symbolic meaning. Joseph holds a staff with an abdamper in the form of Salamandra - one of the symbols of Christ (Gospel from Luke, 12, 49). The ancient idea of \u200b\u200bthe invulnerability of Salamandra in the fire and its intimacy led to the fact that in the art of the Renaissance they began to perceive it as an impersonation chastity (see: Lexikon der Christlichen Ikonographie. Rom; Freiburg; Basel; Wien, 1972, 4, S. 11). Repelik - a hint of original sin, which is destined to redeem Christ.
By decision of the composition, images and architecture, the Hermitage picture is close to the work on the same plot from the Church of Santa Maria Nova in Asta.
Origin: Post, in 1926 from the Stroganovsky Palace-Museum in Leningrad.
Hermitage catalogs: Cat. 1958, p. 181: Cat. 1976, p. 83.
Exhibitions: 1984 Leningrad, No. 2 Literature: Romano G. Casalese del Cinquecento. L'Avvento Del Manierismo in Una Citta Padana. Torino, 1970, p. 22.

Madonna with infant and angels
Canvas (trans. From a tree in 1860 Taburtesov), tempera. 94.5 × 82.5. GE 276.
On the Nimbe Madonna: Ave Maria Gratia Plena Do ... (Rejoice, Marne, gracious, [Lord with you]). Gospel from Luke, I, 28. On the Nimbe Baby: Vere Filiio Aisum Auu (true son, glory). On the scrollhead in the hands of the baby: Ego S / UM Lux / Mundi / Veritas / et Vita (I light the world ... Truth and life). Gospel from John, 8, 12; 14, 6.
In the type of Persons Madonna and Angels, in a rhythmic strict composition, there is no doubt, the influence of Simone Martini is felt. However, the understanding of the form is different, the volumes are simulated not so gently, the contour becomes clearer and predominant. The picture was scheduled for cat. 1916 (under No. 1999) as the work of an unknown Florentine artist of the XIV century, but did not enter this directory.
Shcherbacheva (1941) correctly determined that the work was created by the Siena Master
XIV. With his author, she considered Chekcarelli and dating "Madonna with a baby and angels" 1350s. The opinion of M. Laklot and M. Lonjon, who (orally), seem to consider the picture by the work of Bartolo di Fredi.
The Bartolo di Credit attribution is confirmed by comparison with the works of the artist as "St. Lucia "(Metropolitan Museum, New York) and" Welcome Worshilation "(National Pinakotek, Syen). The style can be dated OK. 1390.
Origin: post, in 1910 of the timing. Earlier: Mach in St. Petersburg, acquired for Mach by Vice-President Ah Knyazh, G. Gagarin in the 1860s.

Madonna with baby, holy and angels.
On the back of the board: Crucifixion with Maria P John
Tree, tempera 151x85. GE 8280. The top is pointed.
On the steps of the throne signature: Antonivs De- Florentia. On the Nimbe Mary: Ave Maria Gratia (rejoice, Maria, gracious). Gospel from Luke, 1, 28.
On the nimble of the Baptist: S Iovanes Wat ... On the scroll in the hand of St. John: Esse Angn .. (CE AGN [EC]). Gospel from John, 1, 29, 36. On the Nim of St. Bishop (inaudible): S Lie .. .vs ..pis. On the back of the boards: on the cross: INRI. On the Nimbe Mary: Virgo Maria. On the Nimbe John: Iovanes Vang ... in a triangular end in the scene of the Annunciation: Ave. Maria. Gratia. Plena (rejoice, Maria, gracious).
The picture is Horugwy, which believers carried during religious processes.
On the front side in triangular conclusion - a blessing Christ surrounded by Serafimov. On the back of the foot of the foot of the crucifix, except traditional figures - Mary n John - two more monks are presented in white robes with hoods covering people so that only eyes are visible in the slots. On the shoulders of each of them - a briber for self-vaccination. Dzheri (1980), based on the images of the monks, believed that the Kapuchin's Horugwe belonged.
Above the crucifixion in the triangular conclusion is placed the scene of the Annunciation, the composition of which is entirely repeated by the work of Fra Angeliko on the same plot from the parish church Monte Carlo in Tuscany.
Despite the presence of a signature, it remains unclear who was the author of the Hermitage Horugwi. There were several artists who were called Antonio and Firenz. Shcherbacheva (1957) suggested that the author of the icon was Antonio and Firenz, who worked at the end of the XV - early XVI centuries. (Died about 1504-1506). In 1472, this Florentinsk Master moved to Venice. Staying in the north of Italy Shcherbachev explained the combination of the features coming from Mazacho, Mazolino, Fra Angeli, Kastano with purely Venetian addiction to the wealth of ornamental motives, sonorous colorful palette, golden background.
FiOkko (1957) believed that the character of painting does not allow you to take the korugvy far beyond the limits of 1440. He saw in Antonio and Frenz the artist who experienced the influence of Kastano II working as a mosaicist in the middle of the XV century. in Venice.
Dzheri (1960) compared the Hermitage icon with Triptych "Madonna with a baby, St. Bishop p sv. Catherine "(Bernso-on. Florence), identifying Antonio and Firenz from Antoppo Di Yakopo, mentioned in the lists of the Hydia Luke in 1415, and then in documents 1416, 1433, 1442. The point of view of Dzheri seems to be the most convincing. She was supported by Gukovsky (1981). Origin: post, in 1936 through LGZK. Earlier: Cons. M. P. Botkin in St. Petersburg.

Italian art and painting

The history of Italian art is the art of Italy itself in time and space. After the Etruscan civilization and especially after the Roman Republic and the Empire, which occupied the dominant position in this part of the world for centuries, Italy took a central place in European art in the Renaissance Epoch. Italy also demonstrated european artistic domination in the XVI and XVII centuries thanks the artistic direction of Baroque. She regained its powerful presence at the international art scene since the middle of the XIX century, thanks to these areas like McCyayoli, futurism, metaphysics, newsgtytto, spacialism, art of the belief and trans-gang.

Italian art influenced some major directions over the centuries, thanks to him many great creators appeared, including artists and sculptors. Today, Italy occupies an important place at the international art scene, there are several large art galleries, museums and exhibitions; Significant art centers of this country include its capital - Rome, as well as Florence, Venice, Milan, Naples, Turin and other cities.

"Triumph Galatei" Rafael

Etruscan art

Etruscular bronze figures and terracotta burial reliefs are examples of powerful traditions of central Italy, which weakened by the time Rome began to build its empire on this peninsula. Etruscan paintings, preserved to our time, are basically wall melts from burials, mainly from Tarquinia. This is the most important example of the Dorim Fine Art of Italy, a well-known scientist.

The frescoes are filled in the technique of painting on top of fresh plaster, it was done in order to when the plaster dries out, the picture became part of the plaster and an integral part of the wall that helps her remain so good (and indeed, almost all the preserved Etruscan and Roman painting is represented only by frescoes). The colors were created from stones and minerals of different colors, which smashed and mixed with each other, small brushes were made of animal wool (even the best brushes were made of wool oxen). From the middle of the IV century BC. The use of lighting for the image of the depth and volume has begun. Sometimes scenes are depicted from everyday life, but most often these are traditional mythological scenes. The concept of proportion does not appear in any of the preserved frescoes, and we often find images of animals or people with some non-solid parts of the body. One of the most famous Etruscane frescoes is the painting of the tomb of the lioness in Tarquinia.

Roman art

Rome under the emperor Konstantine, photo: Campus Martius, public domain

Etruscans were responsible for the construction of early monumental buildings of Rome. Roman temples and houses with great accuracy repeated Etruscian models. Elements of Etruscan influence on the Roman temples included the podium and focus on the facade to the detriment of the other three sides of the building. Large Etruscan homes were grouped around the central hall in many ways as well as Roman big city houses later built around atrium. The influence of Etruscan architecture gradually weakened during the republic's times due to the impacts (especially Greek) from other parts of the world. The architecture of Etruscans fell under the influence of the Greeks, so when the Romans adopted the Greek styles, they did not become alien for their culture. In the days of the republic, it was probably a constant development of architectural trends mainly from the Hellenistic world, but after the fall of Syracuse in 211 BC. Greek artworks were poured into Rome. In the II century BC, the flow of these works and, more importantly, Greek masters continued to enter Rome, having a decisive influence on the development of Roman architecture. By the end of the republic, when Vitruvius wrote his scientific work on architecture, the Greek theory of architecture and examples of architectural work prevailed over everything else.

As the empire expands, the Roman architecture has spread to large areas, it was used when creating both public buildings and some large private buildings. In many areas, elements of the style, especially decorations, fell under the influence of local tastes, but the architecture remained recognizable by Roman. The styles of local architecture to one degree or another were influenced by the Roman architecture, and in many regions, Roman and local elements are found in combination in the same building.

By the first century, Rome was the largest and most developed city around the world. The ancient Romans came up with new technologies to improve the systems of sanitary control of the city, roads and buildings. They developed a system of aqueducts that delivered fresh water to the city through the pipes and built a sewer, removing the waste of the city. The richest Romans lived in large houses with gardens. Most of the population, however, lived in apartment buildings from stone, concrete or limestone. The Romans have developed new technologies and used materials such as, for example, volcanic soil from Pozzuoli - villages near Naples - to make their cement stronger and stronger. This cement allowed them to build large concrete apartment buildings, called insuls.

Statue known as "August of Prima Port, license Creative Commons Attribution-Share Alike 3.0 Unported

Wall drawings decorated at home rich. Garden landscapes were often depicted in the paintings, events from Greek and Roman mythology, historical scenes or scenes from everyday life. The Romans decorated the floors with mosaic - drawings or patterns created from small colored tiles. Ornate blooped paintings and mosaics helped make the rooms of Roman homes visually more and brighter, and also to put the owner's wealth.

In the Christian Epoch of the Late Empire, in 350-500. AD, the wall painting flourished, mosaic decorations of ceilings and floors and funeral sculptures, while a full-sized sculpture for a circular review and picturesque panels gradually disappeared, most likely, for religious reasons. When Konstantin suffered the capital of the Empire in Byzantium (renamed to Constantinople), Eastern trends began to influence the Roman art, giving birth to the Byzantine style of the Late Empire. When Rome was ruined in the V century, artisans moved to and found work in the eastern capital. Almost 10,000 workers and artisans worked on the creation of the Church of St. Sophia in Constantinople, it was the final chord of Roman art with the Emperor of Justinian I, who also ordered to create famous mosaics equal.

Medieval art

Throughout the Middle Ages, Italian art mainly included architectural decorations (frescoes and mosaics). Byzantine art in Italy was a very formal and exquisite decoration with standardized calligraphy and the affecting use of color and gold. Until the XIII century, art in Italy was almost completely regional, it fell under the influence of external European and eastern trends. After approx. 1250. The art of various regions has developed general characteristics, therefore, a certain unity and deep originality was observed.

Byzantine art

After the fall of his Western capital, the Roman Empire existed for another 1000 years under the leadership of Constantinople. Byzantine masters were involved in important projects throughout Italy, and Byzantine styles in painting are observed until the XIV century.

Gothic art

The gothic period marks the transition from medieval art to revival, it is characterized by styles and views that developed under the influence of the Dominican and Franciscan monastic orders founded by the Holy Dominic and the Holy Francis of Assisi, respectively.

It was the time of religious disputes inside the church. The Order of Franciscans and Dominicans were founded as an attempt to solve these disputes and return the Catholic church back to the basics. The early years of Franciscans were especially remembered by the mercy of St. Francis, and the Dominicans remember as the Order on which the greatest responsibility for the emergence of the Inquisition.

Gothic architecture originated in Northern Europe and spread south to Italy.

The art of the Renaissance

In the Middle Ages, artists and sculptors tried to give their works a religious character. They wanted the audience to focus on the deep religious sense of their paintings and sculptures. But artists and sculptors of the Renaissance, as well as writers of this era, sought to portray people and nature realistic. Medieval architects designed huge cathedrals in order to emphasize the greatness of God and humble human spirit. Architects of the Renaissance Designed the buildings whose proportions were based on the proportions of the human body, and their decorations imitated ancient patterns.

Art of the 1300 and early 1400s

At the beginning of the 1300s, the Florentine artist Jotto became the first artist depicting nature realistic. He created magnificent frescoes (painting on raw plaster) for churches in Assisi, Florence, Padua and Rome. Jotto attempted to create realistic figures showing real emotions. He portrayed many of his characters in real conditions.

A wonderful group of Florentine architects, artists and sculptors created their work at the beginning of the 1400s. Among them were the artist Mazaccho, the sculptor Donatello and the architect Filippo Bruneland.

The best work of Mazacho was a series of frescoes, which he created approximately in 1427 in the Brankachci Chapel of the Church of Santa Maria Del Carmin in Florence. These frescoes realistically demonstrate the biblical scenes of emotional tensions. In these works, Mazaccho used the Bruneland system to create a linear perspective.

Donatello in his sculptures tried to portray the dignity of the human body with realistic and often dramatic details. His masterpieces include three statues of the Biblical Hero of David. In the version completed in the 1430s, David Donatello is depicted as an elegant, naked young man, shown through moments after he killed the giant Goliath. Work, the height of which is about 5 feet (1.5 meters), was the first major free-standing sculpture of a naked person created in Western art since antiquity.

Bruneland was the first architect of the Renaissance, revived the ancient Roman architecture style. In his projects, he used arches, columns and other elements of classical architecture. One of his most famous buildings is beautiful and harmoniously built Capella Pazzi in Florence. This chapel, which began in 1442 and ended around 1465, was one of the first buildings built in the new style of the Renaissance. Bruntelleski was also the first creator of the Renaissance, who mastered the linear perspective - a mathematical system, with which artists could demonstrate space and a depth on a flat surface.

The art of the late 1400 and early 1500s

The outstanding representatives of the art of the 1900s and the beginning of the 1500s were three masters. These were Michelangelo, Rafael and Leonardo da Vinci.

Michelangelo was an outstanding painter, architect and poet. In addition, he was named the greatest sculptor in history. Michelangelo was a master of the human body. For example, his famous statue of the People's Chief of the Israeli People of Moses (1516) produces an extreme impression of physical and spiritual power. These qualities are also manifested in frescoes on biblical and classic stories that Michelangelo wrote on the ceiling of the Sistine Chapel in the Vatican. These frescoes written from 1508 to 1512, belong to the number of the greatest works of the Age of the Renaissance.

"David" Michelangelo

Palazzo Pitty

Gallery of the Academy of Fine Arts

National Museum Bargegello

National Museum of San Marco

National Archaeological Museum of Florence

Museum of Opera del Duomo

Palazzo Vecchio

Museum Orsanmikele

Workshop processing gems

Palazzo Rosso

Palazzo Bianco

Palazzo Real

Pinakotek Brera

Museum of Polandi Pezzoli

Soft Castle

Pinakotek ambrosiana

National Archaeological Museum of Naples

Urban Museum of Padua

G. Palermo

Palazzo Abatellis

National Gallery Parma

Foundation Manyani Rocca

Perugia

National Museum of Umbria

National Museum of San Matteo

City Museum Prato

Museum of the Cathedral

Reggio di Calabria

National Museum of Great Greece

Capitol Museums

Center Monttemartini

National Roman Museum

Gallery Doria Pamphili

Palazzo Barberini

Palazzo Corsini

National Museum of Etruscov

Castle of the Holy Angel (Castel Sant Angelo)

Gallery downturn

National Pinakotek Siena

Palazzo Public

Museum of the Siena Cathedral (Museum of works by Duomo)

Gallery Sabauda

Palazzo Real (Royal Palace)

Palazzo Madama

Urbino

National Gallery Marke

Venice

Gallery of the Academy

Ka "d" Oro

Skol San Rocco

Skol di San Georgeo Deli Schiavony

Some pearls of Italian art

"Storm" Georgeon

State Hermitage in conjunction with the city museums of Pavia holds the most large-scale retrospective of the painting Italy of the beginning of the century, which includes more than seventy works

State Hermitage, November 19, 2011 - January 22, 2012
Herbal Hall of the Winter Palace

Within the framework of the year of Italy in Russia and Russia in Italy, the exhibition "Italian painting of the XIX century is held in Italy in the coat of arms of the Winter Palace. From neoclassicism to symbolism, "organized by the State Hermitage Museum in conjunction with the city museums of Pavia. The exposition is the most large-scale retrospective of the painting Italy of the beginning of the century and includes more than seventy works, half of which comes from the assembly of the XIX century art gallery of urban museums of the Pavia. In addition, the exposition includes works from the gallery of the modern art of Florence, Milan, Turin, Genoa. The value of the exhibition is difficult to overestimate, since the period under consideration is practically not known to the Russian viewer (in the Hermitage meeting - a little more than sixty pictures of Italian artists of the outstand).

On the example of the best samples of painting of the XIX century, the exhibition demonstrates the entire spectrum of styles and directions in which Italian artists worked: classicism, romanticism, historicism, McCyaolyli, symbolism.

The main features of Italian classicism were laid in the work of Antonio Canova. The Lombard artist Andrea Appiani was addressed to the type of elevated and idyllic paintings on mythological topics, as an example of which the canvas "Juno, dressed in graces" serves. The same antique canon of sublime harmony - in the canvases "Paris" and "Geeby" Gaspare Landy. The heroic branch of neoclassicism is the picture "Death of Caesar" Vincenzo Camucchini in its time.

Appeal to episodes and heroes of national history, preferably already described in the literature, is characteristic of most painting XIX century, starting with romanticism. The chief artist of this area is Francesco Haica. In the painting "Reconciliation of Ottone II with Mother Adelaide Burgundy" he reproduced a significant, but little-known event of Italian medieval history. In the "Venus playing with doves" embodied the features of the famous ballerina Carlotta Shabra, in the "Secret Donos" showed Venetian, beautiful and cruel.

Romance artists willingly depicted outstanding people, the heroes of the rigors at the moments of glory or fall. Examples of such works: "Galilee before the court of the Inquisition" of Christiano Bandy, "Christopher Columbus to return from America (Christopher Columbus in chains)" Lorenzo Delleani, "Lord Byron on Greek shores" Gacomo Trekura.

Romantics will revive interest in the "younger" genres of painting - the image of the interiors of buildings and urban species (lead). In the canvas "Church of Santa Maria Della Salute in Venice", the Kaffa Ippolito is experimenting with visual perception and light effects.

The search for romantics continued in the 1860s Tuscan McCyalyoli: Giovanni Fattori, Silvestro Leg, Telemaco Signorini, Giuseppe Abbeat, Odora Borust, Vincenzo Cabyanka. Artists proposed a stylistic manner, replacing the traditional light of a contrasting combination of spots ("McCaja"). In the new technique of McCyayoli, genre scenes of everyday life were represented: "Singing Stornello" and "engaged, or the bride and groom" Silvestro legged, "date in the forest" of Telemaco Signorini. Landscape in the pictures of "Rotonda Kalnyni Palmieri" Brush Giovanni Fattoria and "View Castiglioncello" Giuseppe Abbeat is interesting because the artists worked at the plenier.

The trends of the symbolism are pronounced in Triptikh Georgeo Kytemka "Man's Mystery": the artist avoids the clear characteristics of the characters, preferring to cool the viewer with esoteric symbols and a common magnetic atmosphere.

In the last decade of the XIX century, European artists experiment with new means of expressiveness. In Italy, Angelo Morbelley is developing the technique of a separate smear (Divisionism), an example of which is a picture on the social theme "For 80 Czczimo!". Divisionist was also Giuseppe Pelitsa da Wolpedo, symbolically embodied the ideals of high humanism in the painting "Horovod".

Exhibition "Italian painting of the XIX century. From neoclassicism to symbolism "is a response to a large exhibition, open in March 2011 in Castello Wiscontéo" Leonardski from FOPPA to Jammeterino: paintings from the Hermitage and City Museums of Pavia, "in which twenty-two canvas from the Hermitage Assembly participated.

The curator of the exhibition on the part of the State Hermitage - Natalia Borisovna Demin, Researcher of the Department of Western European Fine Art, from the city museums of Pavia - Suzanna Dzatti, director of the city museums of Pavia.

A scientific catalog in Russian and Italian (Skira Publishing House, Milan - Geneva) was published to the opening of the exhibition (Skira's Publishing House, with Articles of Fernando Mazzokki, Professor of the University of Milan, Farreco, Guardian of the City Museums of Pavia and Suzanne Dzatti.

Attention! All site materials and databases of auction results Website, including illustrated references of the works sold at auctions, are intended for use solely in accordance with Art. 1274 of the Civil Code of the Russian Federation. Use for commercial purposes or with violation of the rules established by the Civil Code of the Russian Federation is not allowed. The site is not responsible for the content of the materials represented by third parties. In case of violation of the rights of third parties, the site administration reserves the right to remove them from the site and from the database on the basis of the appeal of the authorized body.

• 31.01.2020 The starting price of each lot of this auction does not depend on its estimate and is exactly $ 100
• 30.01.2020 Marron collected its collection for more than 20 years, it consists of 850 works of art, previously estimated at $ 450 million
• 30.01.2020 Sculpture status from the Museum of Ghetty in December 2019 was changed to "the work of an unknown master"
• 29.01.2020 The course had to be canceled after complaints about the fact that it is overly focused on the European "White History of Art" and studying the art of men artists
• 29.01.2020 The organizers of the most complete retrospective of Salvador's creativity Dali offer the public two hundred works of the artist and a rich educational program

• 31.01.2020 Total revenue amounted to almost 2.5 million rubles. Buyers - from Moscow to Magadan
• 24.01.2020 With a hammer, more than 50% of the catalog lots took place, buyers from Perm to Minsk
• 23.01.2020 In the catalog - thirty lots: eleven picturesque works, fifteen sheets of original and one - printed graphics, one work in mixed technique, one porcelain plate and one photo album
• 20.01.2020 The catalog of the first in 2020, the auction of the Auction and the DPI amounted to 547 lots - painting and graphics, glass, porcelain, ceramics, silver, enamel, jewelry, etc.
• 17.01.2020 In the new hands left a little less than half of all lots of the catalog. Among buyers - Moscow, Odintsovo, Minsk and Perm

• 31.01.2020 In the history of the conversation, something may seem naive, the other - to find application in the practice of market participants. Undoubtedly one thing: in any profession, the knowledge of each successful person should be based on luck and mistakes of its predecessors
• 03.12.2019 The main figures of the three main bidding of the "Russian Week", and a little about how our forecasts came true
• 03.12.2019 This year, the salon was held on the new platform, in the living room, and a month later, than usual
• 28.11.2019 A visit to the workshop of the artist - an event, potentially able to change the life of both the owner of the studio and its guest. Not a fully business meeting, but certainly not an ordinary friendly visit. Compliance with several uncomplicated rules will make it possible to not be accepted in this situation
• 26.11.2019 For the fourth time, at the proposal of the VKHNRTS named after Academician I. E. Grabar, we publish a false expert opinion, allegedly issued by the experts of the Center. Be carefull!
• 17.12.2019 The exhibition opens on December 19 in the main building of the museum, on Petrovka, 25, - attempt to take a fresh look at the extensive museum assembly of domestic art: 20 well-known specialists from various professional spheres
• 12.12.2019 April 6, 2020 marks 500 years since the death of one of the greatest artists of Renaissance. On the eve of large-scale events that will be held next year, the Berlin Art Gallery opens the exhibition Madonn's work of Rafael Santi

N.A. Belown

The art of the 18th century (in Italian Nettacheno) was the final stage of the centuries-old evolution of the Great Classical Art of Italy. This is the time of the incomplete popularity of Italian artists. Petersburg, Madrid, Paris, London, Vienna, Warsaw - there was not a single European capital, wherever the Italian masters would invite, wherever they, fulfilling orders of royal yards and nobility, did not work as architects and sculptors, frescoes or theater decorators, landscape players or portraitists.

So wide resonance of Italian artistic culture in this period would incorrectly explain to the fact that her masters became on the path of fundamentally new artistic discoveries, as it was in the Renaissance Epoch and in the 17th century. Rather, it can be said that the Italian masters sometimes inferior in the sense of the historical prospects of their achievements to artists from other countries, such as France and England. Moreover, Italian architects and painters were more closely, than artists of other national schools are associated with the nature of the figurativeness and the language of the forms of the preceding masters, the 17th century. The All-Neuropean success of Italians promoted the extremely high overall level of their art, which absorbed the centuries-old fruitful traditions of the great preceding eras, then evenly highly developed the development of all types of plastic arts and the presence of a large number of gifted masters in Italy.

The most valuable achievements of Italian art are 18 V. They are associated not only with architecture and monumental-decorative painting, where such a great master played a crucial role, as Tapolo, but also with various genres of easel painting (primarily with the architectural landscape), with theatrical-decorative art and with graphics. In addition to ideologous, the main advantages of the bright and figurative reflection of the epoch, its main advantages were in exceptionally high artistic quality, virtuoso pictorial skills, thanks to which the prestige of the brilliant Italian maestria remained extremely high.

One of the reasons for the widespread dissemination of Italian masters in Europe was also the fact that they could not fully find use in their homeland. Exhausted by wars, Italy turned from late 17 - early 18 V. Not only in politically fragmented, but also in an almost ruined country. Her southern part was subordinate to Spanish Bourbon; Tuscany managed members of the House of Habsburg, Lombardy was in the hands of Austria. The feudal orders that dominated the lands belonging to the clergy and aristocracy, the rise in prices, the low wages of workers employed in Manufactures, -All caused discontent and fermentation of the masses, which poured into unorganized poor uprisings, which could not have success in the conditions of subordination of the country to alien and Because of its economic backwardness. Only the Venetian Republic and the Papal region with its capital Rome retained its state independence. It was Venice and Rome that played the most outstanding role in the spiritual and artistic life of Italy of the 18th century.

Although in comparison with the brilliant flourishing of the 17th century, the Italian architecture of the 18th century discovers a certain decline, it gave a lot of interesting decisions. Even in the difficult economic conditions of this century, the Italians retained such inherent in the passion for the construction of enormous majestic structures, as well as the monumental language of architectural forms. And yet, in the brilliance of individual glorified monuments of this time, a kind of inertia is felt rather than the inertia of the previous grandiose scope of construction activity, rather than organic compliance with the conditions of real reality. This dependence on the past, pronounced in Italy is stronger than in many other national art schools of Europe, it affected here, in particular, in the prevailing role of the Baroque style, very slowly retreating before the sprouts of a new classic architecture.

Tight, essentially, inseparable communication with the architecture of 17 V. Especially noticeable in the monuments of Rome. Roman arch of the first half of the 18th century. Save a large town-planning scale of their thinking. More modest than before, economic opportunities were used to create separate large structures, which adequately completed a number of well-known architectural complexes and ensembles.

In the 18th century, the facades of the two famous early Christian Basil Rome - San Giovanni In Lathersan (1736) and Santa Maria Maggiore (1734-1750), which occupy a dominant position in the architecture of the area adjacent to them. The builder of the Lateran Basilica facade - Alessandro Galilee (1691- 1736) as a pre-preparation for him elected the facade of the Roman Cathedral of St. Peter created by Carlo Madelnaya. But, unlike the latter, he gave a more artistic decision of a similar topic. In his two-story facade with huge rectangular and arched openings and a colossal warrant of the half-colonge and a pilaster, rather than in the madnaya, the rigor and clarity of massive architectural forms sharply shaded the restless movement of the wedding facade of huge statues. The outdoor appearance of the Church of the Maria Maggiore site, the facade of which was erected by the Ferdinando Fuga project (1699-1781), testifies to relief and calm the baroque architectural forms. The fugue was also a builder and an elegant Palazzo Del Conscious (1737) - sample of the Roman palace architecture of the 18th century. Finally, the facade of the Church of Santa Croce in Jerusalemma gives an example of a brightly individual solution to the baroque church facade in the aspect, which since the time of Jesu fascinated by many Italian architects.

In the Roman arch of this time, it is possible to meet an example of an area, which is a kind of open lobby in front of the church building. This is very small in size to Sant Inonyosio, where in contrast with the curvilinear outlines of the surrounding brick facades, the whimsical grace of its forms standing closer to Rococo than to Baroque, the impressive stone array of the facade of the Church of Sant Inyazio, built in the previous century, is spectacularly distinguished.

The most exciting monuments of Rome belongs to the famous Spanish staircase, built by architects Alessandro Ski (1668-1729) and Francesco de Sanctis (approx. 1623-1740). The principle of the picturesque terraced composition, developed by the Baroque architects when creating palace-park ensembles, was first used here in urban development. Bashed over a steep slope, the wide staircase combines into a holistic ensemble located at the foot of the Hill of Spain Square with highways passing through the area placed on the top of this hill in front of the two-baked facade of the Church of San Trinita Dei Monti. The grand cascade of steps, then merging into a single rapid flow, then branched on separate marches, which run down from top to bottom of a complex curvilinear bed, is distinguished by the exceptional painting and wealth of spatial aspects.

The decorative trends of the late baroque triumph in the famous Trevi Fountain (1732-1762) created by the architects of Niccolo Salvi (approx. 1697-1751). Pumping facade Palazzo Poly is used as a background for a huge featured fountain and perceived as a kind of architectural scenery, inextricably linked with sculpture and rapidly low-depth water flows.

As one of the most interesting structures in the southern regions of Italy, the Royal Palace in Caserta near Naples, built by Luigi Vavitelli (1700-1773). This ambitious large-built building is in terms of giant kara with cruciform intersecting with corps, which form four large courtyards. At the place of intersection of the corps, a colossal bunk lobby is placed in which there are huge gear and majestic front stairs from different sides.

In more historically promising forms, architecture developed in the northern regions of Italy - in Piedmont and Lombardy, where progressive trends are clearly detected in economics and culture. The largest architect here was Philippo Yuvara (1676-1736), a native of Sicily, who worked in Turin, Rome and other cities and finished his creative path in Spain. Yuvara is the author of many different buildings, but in general the evolution of his work follows from lush compositionally complex structures to greater simplicity, restraint and clarity of the architectural language. His Early Style represents the facade of Palazzo Madama in Turin (1718-1720). More ease and freedom in the so-called hunting castle of the hubniji near Turin (1729-1734) - a huge country palace, extremely complex and whimsical in its plan (which is attributed to the French architect Bofran). Strongly elongated low wings of the palace contrast with the high central body set in their intersection, crowned with a bizarre dome, over which the figure of the bundle rises. Another famous building of Yuvara is an extraordinarily spectacularly located on a high hill of the monastery and the church of the Super in Turin (1716-1731) - on its forthams foreshadowed the classicism.

In their completed forms, classicism is clearly expressed in the work of the Milan architect Giuseppe Piermarini (1734-1808), from many buildings of which the most famous - theater della Rock in Milan (1778). This is one of the first in the European architecture of theatrical buildings, designed for a huge number of spectators (the hall holds over three and a half thousand people), which then ended in its architectural and technical qualities of the model for many opera theaters of the new time.

From the 1680s. The Venetian Republic's exhausted by wars, losing his domination in the Mediterranean in the struggle against the Turks, began to lose its possessions in the East, and its economic decline became clear and inevitable. In addition, the aristocratic and frost forms of the state apparatus gave rise to acute social contradictions and repeated attempts by the bourgeois-democratic part of the Venetian society change this regime through radical projects of its reorganization. But although these attempts did not have significant success, it should not be thought that Venice completely exhausted its capabilities. Here, a new bourgeoisie was attached, a layer of intelligentsia grown, due to the culture of the Venetian nettato, it was imbued with complex and contradictory phenomena. A particularly bright example in this regard can serve not so much painting as literature and dramatics of the time.

Venice retained the special glitter of life only to her, which is 18 V. I also acquired some kind of feverish character. Holidays, Carnavals, Masquerades, when all classes in the city were equalized and under the mask could not be distinguished by Patricia from the plebia, continued almost throughout the year and attracted to the crowd of travelers, among whom were kings, representatives of nobility, musicians, artists, artists, writers, writers And just adventurers.

In a par with Paris, Venice set tone in the literary, theater and musical life of the 18th century. As in the 16th century, so now it remained an important center of typography. There were seventeen dramatic and opera theaters, musical academies, four female shelters for orphans-"conservatory", turned into excellent music and vocal schools. With its musical triumphs, Venice exceeded Naples and Rome, creating unsurpassed schools of an organ and violin game, putting the international musical world of that time with their amazing singers. Outstanding composers and musicians lived here. Venice theaters were crowded, church services, where monastery choirs and nuns were sang, visited as theaters. In Venice and Naples, a realistic comic operator, reflecting urban life and morals, was also developed along with the dramatic theater. The outstanding master of this genre of Gaulpped was close in the spirit of his creativity to the largest playwright of the 18th century. Carlo Goldoni, a new stage in the history of the European Theater was associated with whose name.

Goldoni in the root transformed the comedy masks, the new content in it, giving it a new stage design by developing two main dramatic genres: the comedy of morals from the bourgeois-noble life and comedy from the people's life. Despite the fact that Goldoni performed as an enemy of aristocracy, his plays enjoyed in Venice at the same time with great success, until he was ousted from the Venetian scene with his ideological opponent - playwright and poet, impoverished Venetian Count Carlo Gotszi. The latter turned again in his theatrical and romantic plays (Felabach) - "Love for three oranges", "Princess Turandot", "King of deer" - a heritage of the improvisational comedy of masks. However, the main role in the development of Italian drama belonged not to them, but the comedies of Goldoni, whose realistic creativity was associated with new educational ideas.

The Theater Art of Venice also reflected on the nature of its architecture and especially decorative painting. The development of the latter to considerable least was associated with a huge demand for the magnificent theatrical decorative paintings of churches and especially palaces not only in Venetian. Italy, but also outside Italy. But along with this direction in Venetian painting, the development and a number of other genres were developed: a household genre, a city landscape, a portrait. Like the operas of Galdpi and the comedies of Goldeni, they reflected everyday life and holidays of Venetian life.

The clergy between the art and 18 centuries in Venice is the work of Sebastian Ricci (1659-1734). The author of numerous monumental and machine compositions, it was largely relied on the tradition of Paolo Veronese, an example of which his works, like "Madonna and the Baby and Saints" (1708; Venice, Church of San George Maggiore) L "Genigious Scypion" ( Parma, University), even in the iconographic relations ascending to the 16th century. Although he gave tribute to the official Baroque Paraticle, in its creations there are more animals and attractiveness than most Italian painters of this direction. The temperamental picturesque manner, bright paints in combination with the increased theatrical image of the images made it popular not only in Venice, but also beyond it, in particular in England, where he worked with his nephew and a student - a landscape playman Marco Ricci (1679-1729).

The latter usually wrote landscapes in the compositions of Sebastian Ricci, and such a joint work of both masters was a large picture of the "Allegorical Tomb of the Duke of Devonpropngra" (Birmingham, the Barberra Institute), which resembles a magnificent scenery and theatrical scenery. The landscape works of Marco Ricci himself are romantic compositions made in a wide picturesque manner; They can catch some features of community with scenery of Salvator Rosa and Manya.

The initial stage of the Venetian painting is 18 V. Presents the work of Giovanni Battista Piazzetta (1683-1754). He studied from the Bologna painter Giuseppe Maria Kresses, having perceived his living peculiar letter to the letter with extensive use of lighting. Fresh and strong impact of Caravaggio's realism also reflected in his paintings. Piazzette is restrained and sophisticated in his palette, in which deep, sometimes like paint-flaming paints - chestnut-red, brown, black, white and gray. In his altar image in the Church of Jesuati in Venice - "St. Wincent, Hyacinth and Lorenzo BertransDo (approx. 1730), with three sainch figures, located on the upward upward diagonal, - black, white and gray chitons of his characters form the color gamut-striking and fine monochromicity.

Other compositions on religious topics - "St. Jacob, led by execution "and a ceiling in the Venetian Church of San Giovanni e Paolo (1725-1727) - also performed by the artist in a wide picturesque manner. Piazzette-artist transient time; Pafos of his paintings on religious stories and at the same time the full-blooded realism and vitality of images, deep light, spirituality and mobility of all picturesque fabric, juicy hot paints, and sometimes exquisite color combinations - all this partly brings his art with the direction of the Italian school 17 century. which was represented by Fetty, Lissa and Strozzi.

Piazzalettes belongs to many genre paintings, but they are weakly expressed in them a domestic beginning, their images are invariably used by a romantic haze and sheeted with a thin poetic feeling. Even such a purely genre interpretation of the biblical plot, as, for example, in his "Rebeca at the Well" (Milan, Brera), acquires a pyazette a romantic shade. Throwing back in a fright to the edge of the stone pool, pressing a brilliant copper jug \u200b\u200bto the breast, a revile with fright looks at the servant of Abraham, who offers her pearl thread. His shaded figure in chestnut-brown clothing contrasts with shining golden, golden pink and white tones forming a colorful silhouette of a rue figure. Cut cow heads, dogs and camels on the left side of the picture, the picturesque figures of the peasants behind Rebel (one of them with a shepherd staff) make a shade of pastoral in the picture.

The most famous genre compositions of Piazzetta refers to the "fortune teller", (Venice, Academy). He also owns a number of portraits.

Creativity Piazetta, however, is not exhausted only by his paintings. He is the author of magnificent drawings, among which there are preparatory sketches and finished compositions performed by pencil and chalk. Most of them are women's and male heads depicted in the FAS, then in profile or three-fourth turns, traded in a bulk black manner, striking on the extraordinary vitality and instant accuracy of the captured appearance ("Male in a round hat", "Znamers and Drummer", Venice, Academy, Cm.illustication).

The grand scale of the monumental-decorative art of Nettachno is primarily associated with the name of Giovanni Battista Tapolo (1696-1770), the style of which was formed under the influence of his teacher Piazzetta and Sebastian Ricci. Using the huge lifetime glory, Tapolo worked not only in Italy, but in Germany and in Spain. His compositions were also decorated with royal palaces and estates in Russia 18 in. Having used the best traditions of decorative painting of the Renaissance and the 17th century, Thipolo is extremely strengthened in his work theatrical and spectacular side, while combining it with the living perception of reality. Without losing her feelings, Tapolo combined the acute sense of real phenomena with the principles of convention, which are characteristic of monumental-decorative painting. These interpenetrating each other began to have identified the originality of his artistic language. However, the features of life truth in the image of individual events and characters were not combined in the work of Thipolo with in-depth psychological disclosure of artistic images, which, in general, led to a known repeatability of individual techniques and was the limited side of his art.

The fertility of the artist was inexhaustible; Its brilliant creative activity lasted more than half a century. Thiepolo's brushes belongs to a huge amount of frescoes, altar images, machine paintings, many drawings; He was also one of the wonderful masters of the etching.

An example of the early period of activity of Thipolo, which began to work around 1716, can serve as frescoes in the Venice Church of Deli Scaltzi -

"Apotheosis of St. Teresa "(1720-1725), where he first introduces his new spatially decorative solutions, a number of machine paintings on mythological topics (among them a large cloth" Abduction of Sabineanok ", approx. 1720; Hermitage) and especially ten huge decorative panels written by the artist To decorate the Palace of Venetian Patricia Dolphino (approx. 1725).

Five cloths from this series - "Triumph of the Emperor", "Muitions of the scene in the camp of the porn", "Corioran under the walls of Rome" and others - are in the Hermitage meeting. The strong and expressive transmission of heroic plots, plastic, vitally convincing interpretation of figures, a spatial picturesque composition, built on bright colorful contrasts using black and white effects, indicate an early ripened mastery of Thipolo.

By 1726, frescoes include the Archbishop Palace in Udine, written mainly on biblical topics. Thirty-year-old Tapolo performs in them already as an experienced artist with wonderful colorful skill, an example of which the "phenomenon of Angel Sarre" can serve as the "phenomenon of three angels Abraham" and especially the fresco of "Abraham's sacrifice"; By poses and gestures of biblical characters, they resemble a lush performance.

Turning to the easel painting, Tapolo creates no less impressive decorative compositions, such as written in the late 1730s. A large three-part picture for the Church of San Alvise in Venice - "Path on Calvary", "Bacheling of Christ" and "Wedding Turning", where bright and brilliant paints are replaced by a gloomy and deep colors, the composition becomes spatial and more dynamic, and the vital persuasiveness of his images is expressed yet stronger than in frescoes.

The brilliant heyday of the decorative talent of Tapolo comes from the beginning of the 1740s, when he writes a number of mythological paintings, among them "Triumph Amphitrites" (Dresden) - a sea goddess, serenely resting on the chariot in the shape of a shell, which horses and maritime deities are rapidly rushing Turquoise green waves. In the overall gourmet colorful range, the bright spot is highlighted by the wind stretched like a sail, a red amphitrite cloak.

In the 1740-1750s. Tapolo creates one by one wonderful decorative cycles, altar images and small machine paintings. The family of Venetian patrician, as well as monasteries and churches, compete among themselves in the desire to have works by his brush.

Digesively High Church Plafones The artist turned into bottomless celestial spaces with spawning clouds, where light-dead angels and saints were torn above the heads. Religious and mythological plots were replaced by magnificent festivals, wedding, feiras and triumphs. In his compositions, the artist reached the amazing effects of "daytime" lighting by the ratio of white tones with pale blue and gray halftons, and deep spatial pauses separating architectural forms and streams of human figures from each other, created a feeling of air lightness and weightlessness. Thin, gentle harmony of its paints, a living sensation of color, the dynamism of compositions, an inexhaustible pictorial fantasy, a bold solution of the most difficult promising tasks - all of this amazed contemporaries Thipolo to the same extent that it surprises us now.

Between 1740-1743 They are written huge puffy compositions for the Venetian churches of Jesuati, Skalti deli, Scales del Carmina and others. The church of the Skalti deli, the most ambitious in the size and most majestic fresco, performed during these years, together with the artist Mengozi Column, who was a quadratist, that was the painter who performed ornamental parts and the architectural painting in the compositions of Thipolo. The inner decoration of the church, built by Longen in the 17th century, was distinguished by a pure baroque pomp, an equivalent to the magnificent flange of Thipolo with a huge composition "Transferred to the Madonna House in Loreto" (this ceiling was destroyed in 1918). The painting of the ceiling, as if continuing the real architectural finish of church walls, framed a huge fresco, built on comparison of light plans of various intensity and depth, which created the illusion of endless celestial space, illuminated by light. The image unfolded almost parallel to the ceiling plane, and not in its depth, as the 17 V decorators did. By placing the main scene of the "transfer" not to the center of the Plafon, but at its edge and leaving the rest of the space almost unfilled, and it reaches the full illusion of the rapid air flight of the masses of human figures. Some of the figures are separated from the central scene and are placed on the background of the framing of the frescoes, such as the figure, personifying the heresy and falling down his head on the viewer. By these effects, the artist seems to connect the heavenly scene with the real interior of the church. Such picturesque deceptions of view answered the nature of the Venetian worship service of the 18th century, which was a kind of parade church performance, imbued with a greater extent secular, rather than religious sentiments.

By the time after 1745, the wonderful frescoes of Tapolo in the Venetian Palazzo Labia include, where the artist is closest in contact with the decorative principles of Veronese. On two frescoes located on the opposite walls of the Bolshoi Hall, "feast of Anthony and Cleopatra" and "Meeting Anthony and Cleopatra" are depicted. The ceiling presents a number of allegoric figures.

Entering the spacious ballroom Palazzo Labia, the viewer loses the feeling of real architectural space, because its limits are scenic scenic decoration, which turned the walls of the Venetian Palazzo to a luxurious theater spectacle. Thiepolo skillfully used the wall space between the two doors and two windows above them, thus combining the real architecture with illusory. In the scene "Pir", the steps on which the spine to the viewer depicts a dwarf, lead to a wide marble terrace with a colonnade Corinthian style and the choir, under the Siege of which the Egyptian Queen and Roman commander. Cleopatra, wanting to prove his contempt for wealth, throws an invaluable pearl into a glass with vinegar, where she should dissolve without a trace. The ratio of human figures with perspective construction of the scene is transmitted flawlessly. The composition saturated with light and air is built on two intersecting diagonals, leading the viewer in depth; The viewer as if invited to join the terrace and take part in the feast. Interestingly, the middle of the frescoes are not filled with figures, the industry gives a spectacular spatial pause here.

As far as this fresco is filled with calm, so all the figures in the "meeting of Anthony and Cleopatra" are covered by movement. Without pursuing the goal of being faithful historical truth, Tapolo turns his heroes rather in actors, dressed in the same venetian fashion 16 centuries. These episodes from the history of Anthony and Cleopatra represented such a grateful material for creative fantasy Thipolo, that he left many of their options in his monumental and machine canvases. These are the "feast of Anthony and Cleopatra" in Museums of Melbourne, Stockholm and London, "Meeting Anthony and Cleopatra" in Edinburgh and Paris.

In the 50-60s, the picturesque mastery of Tapolo reaches a huge height. His color becomes unusually refined and acquires tender shades of cream, gold, pale gray, pink and lilac.

By this period include its frescoes in the Episcopal Palace in Würzburg (see Art of Germany). Working there for three years, between 1751-1753, Tapolo creates magnificent decorative paintings, fully coordinating them with the architectural intent of the palace. Their pompous theatrical character meets the fantastic and somewhat fade architectural and sculptural decoration of the Imperial Hall. The Plafon depicts Apollo on the chariot, rushing over the clouds of Beatrice Burgundy to her fiancock Friedrich Barbarossa. A similar motive has repeatedly met at the decorators of the 17th century. (Urmcino, Luke Jordano and others), but nowhere he reached such spatial coverage, such a radiant atmosphere, such a brilliance in the transfer of the movement of soaping figures.

Above the eaves of the short wall of the hall, skillfully using the lighting, Tapolo places the fresco depicting the marriage of the Barbarossa. In a complex interior composition with motifs in the spirit of Veronese, he represents a crowded wedding ceremony written in sonic and joyful tones - blue-blue, raspberry, yellow, green, silver-gray.

In addition to these frescoes, Tapolo painted a huge, about 650 square meters. m, the plander over the palace staircase, where she portrayed Olympus. The unintended surface of the ceiling, it seems to be "broke" through, turning it into an endless celestial space. By placing apollon among the carrying clouds, he portrayed the personnel of different parts of the world around the walls - Europe in the form of a woman surrounded by allegorical figures of sciences and arts (individual characters were portrait; among them, he portrayed himself, his son Giovanni Domenico and Assistants), America, Asia and Africa with images of animals and peculiar architectural motifs. This ceiling is also one of the tops of the 18th century decorative art.

Upon returning to Venice, Tapolo, who was in the Zenith of His Glory, becomes President of the Venetian Academy of Painting and manages its activities for two years.

To the best creatures of the decorative genius, Tapolo include its frescoes in Vicenza in Villa Valmaran, belonging to 1757, where the artist worked with students and his son Giovanni Domenico Tapolo (1727-1804). In the painting of this villa, where Tapolo appeals to new decorative solutions, his style acquires special refinement and splendor. The artist is now building his compositions parallel to the wall plane, returning again to the traditions of Veronese. The wall plane turns into an antique peristyle, through the columns of which overlooks the beautiful landscape. Large spatial pauses between the figures, the abundance of light, white, lemon-yellow, pale pink, gentle-purple, light brown, emerald green tones of his palette give the picturesque ensemble of Valmaran villas clear and joyful character, imbued with the vividly life sensation of antique images and Renaissance poetry.

In the frescoes of the main hall of the villa - the so-called Palazzo - captured the scene, "sacrifice of infigration" and related episodes. The three other halls were painted by frescoes on themes borrowed from the "Iliad" of Homer, "Enidides" Vergil and the Renaissance poems, "Furious Rolanda" Ariosto and "liberated Jerusalem" Tasquato Tasso. In all these scenes, a lot of movement, lightness, grace and emotionality, suggested by the drama of literary stories chosen by Tapolo.

Interestingly, the great German poet Goethe, visiting this villa, immediately noted the presence of two styles - "sophisticated" and "natural." The latter is especially expressed in the work of Giovanni Domenico Tapolo, who in 1757 painted a number of rooms nearby with the villa "guest house" (so-called foresters). For a long time, the father and son of Thipolo went under one name; Now the features of the creative appearance of the young Tapolo decided more clearly. So, in his frescoes, Valmaran Villa is stronger than the genre-domestic beginning as opposed to the style of his father. These are his painting "peasant lunch" or "peasants on vacation" with wide landscape backgrounds or a beautiful "winter landscape" depicting two lush dressed venetian. On other walls are carnival episodes that serve as bright illustrations to the businesses of Venetian life of the 18th century. Thion and younger belongs also genre paintings in Palazzo Redzoniko in Venice. However, some of its genre works are considered fulfilled together with the Father. Its best achievements include a series of brilliant art techniques, each sheet of which depicts any episode of Joseph's flight and Mary with a baby to Egypt.

Giovanni Battista Itpolo himself is also known as a portraitist. His portraits Antonio Riccobono (Ok. 1745; Rovigo, Concordi Academy), Giovanni Querini (Ok. 1749; Venice, the Kerini-Stampalya Museum) is very bright and expressive according to the characteristic.

Around 1759, Tapolo wrote a large altar image "St. The flow of Este from the plague "(Cathedral in Este), created in another colorful vein, rather than its secular compositions. Deep dark shared tones emphasize the dramatic tension of this scene, the images of which are created under the influence of the Great Venetian painter 16 in. Tintoretto.

The last years of the life of Thipolo is spent in Madrid, by order of the Spanish king Charles III, painting his palaffles of his palace. The huge fresco "Triumphs of the Spanish Monarchy" (1764-1766) is written on the ceiling of the throne room. As in Würzburg, the ceiling is transformed into the heavenly space framed by figure compositions, personifying Spanish colonies and provinces. However, it is executed in a more flat manner than early decorative cycles.

The special area of \u200b\u200bthe creativity of Tapolo makes it brilliant in their artistism drawings. Executed by Sangina or Feather with a blur, they differ in the generalization of their forms, intense dynamics and - with all the sketching fluency of graphic manner - a large dramatic expressiveness. Often they serve as preparatory sketches to the individual parts of its large compositions, sometimes they have an independent value. His drawings of male heads, transmitted unusually plastic, are marked by a sense of vitality and rare observation. He also meets acute and expressive cartoons on the clergy, in the Venetian scoops, on the characters of the comedy masks.

In the technique of etching, Tapolo performed various mythological, allegorical and romantic scenes, the meaning of which is almost no disclosure. They have images of astrologers, people in eastern robes, gypsies, warriors. Distinguished by extremely picturesque black and white manner, these etchings had a well-known impact on the schedule of the largest Spanish painter of the turn of 18-19 centuries. Francisco Goya.

His time connected, Tapolo could not rise in his work to the high measure of humanity, depth and integrity, which was characteristic of the great masters of the Renaissance era. The appearance of many of his heroes is based on life observations, an example of which a number of its female characters can serve - Cleopatra, Armida, Amphitrite, - almost always ascending to the same real prototype - the daughter of the Venetian Gondoller Christine, but not distinguished by genuine internal significance. The meaningful side of his bright and festive art is incarnated not so much in the expressiveness of individual images and characters as in the entire complex of pictorial-plastic motifs, in their amazing wealth and sophistication.

Painting Tapolo was not properly appreciated at 19 V., As it was far from the artistic tasks that were decided in the art of this century. Only later, Tapolo took a worthy place in the history of art as one of the brilliant Masters of the 18th century, which created his own style and a picturesque-decorative system, which completed the centuries-old evolution of monumental painting of classical artistic eras.

For Italian painting 18 V. It was characterized by dividing it by genre. Household genre, landscape, the portrait got a lot of distribution in it, and artists specialized each in their form of art. Thus, the Venetian artist Pietro Long (1702-1785) elected his specialty an image of small gallant scenes, visits, masquerads, concerts, gambling homes, dance lessons, folk entertainment, charlatans, rare animals. It is not always the right drawing, sometimes quite elementary in a colorful solution, small-size Long-"Dance Lesson" (Venice, Academy), "Over the WC (Venice, Palazzo Redzonic)," Rhinozh "(ibid) - used considerable success. His narrative painting, which Goldoni called the sister of his muse, brought to us a peculiar and poetic spirit of the "century masks", careless street life, intrigue, light-length and entertainment, which is peculiar to Venice of this time.

An Italian portrait was represented by the masters, of which the most significant was Giuseppe Gislandi, called the following (after the transition to the monk) Fra Galgario (1655-1743). Native Bergamo, he worked for a long time in Venice, where he studied the work of Georgeon, Titian and Veronese. His brushes belong to numerous, mainly men's portraits, which combine external representativeness and methods of psychological characteristics inherent in baroque portraits, with grace, grace and elegance, characteristic of the 18th century. A wonderful colorist who has learned the best traditions of Venetian painting, Gislanda portrayed to him nobility in wigs, huge triangular hats and rich, embroidered with gold camsoles, using bright raspberry, purple, green and yellow tones in their painting. But he never obscured this magnitude realistic essence of the portrait image, each of his portraits is deeply individual, whether it is a male portrait, where the model is very brightly outlined - a cavalier with an inadvertent face, full sensual lips and a large nose (Milan, Polandi-Pezzoli Museum), or the elegant portrait of the Count Wilettati into growth, or a self-portrait, written in the dark "Rembrandt" tones, or an adorable portrait of a boy (1732; Hermitage).

Alessandro Long (1733-1813) - Son Pietro Long - is known mainly as a portraitist. Giveing \u200b\u200bits models the front, festive appearance, he seeks to give them a characteristic through the surrounding items of the furnishings. Such is the portrait of the famous composer Domenico Chimaroza (Vienna, Gallery Liechtenstein). It is depicted in a magnificent satin raincoat, with score in his hands, turned to the viewer, arrogant and beautiful, but devoid of deep expressiveness, framed by a white wig. Next to him on the table - Viola D Amur, Violin, Flute, Horn and Inkwell with Feather. Portrait of Goldeni (Venice, Museum Correll) Written in the same spirit: the famous playwright is depicted in a parade suit surrounded by attributes of his profession.

The Venetian artist Rosalba Carrier (1675-1757) began its activities as miniaturist, but widely known for its numerous portraits performed by pastels. Her flavor was distinguished by a great tenderness and some fading tones, which was explained by the specificity of pastel technology. All his life she wrote portraits and poetic allegory. Without pursuing the goals to achieve complete similarity, it was extremely shone to his models, giving them a sentimentally-aristocratic character, thanks to which it enjoyed a huge success among European nobility of 18 V. And was elected by a member of the French and Venetian Academies.

But the most significant phenomenon among various genres of the Venetian painting of the 18th century was the city landscape, the so-called lead (that is, the view), which combined the elements of the architectural picture and the landscape itself.

Venetian species painting was primarily a promising painting, reproducing real motives of the cityscape. However, each of the Lantists were inherent in their art language and their picturesque vision, therefore, despite the known repeatability and borrowing of the motives from each other, they were never boring and the same. Lovers in the beauty of Venice, they became her genuine biographers and portraitists, transmitting a subtle poetic charm of her appearance, capturing in countless paintings, drawings and engravings of the square, channels destroyed by gondolas, embankments, palaces, festive walking and poor neighborhoods.

The origins of the Venetian leaders should be sought in painting 15th century, in the works of Gentile Bellini and Wittor Carpaccio, but then the city landscape did not play an independent role and served as an artist only the background for festive chronicles and narrative compositions.

At the beginning of the 18th century. Luca Carlevaris creates the type of Venetian city landscape, which, however, compared with the works of subsequent lightists was quite primitive. A genuine master in this area was Antonio Channel, nicknamed Canaletto (1697-1768).

The son and student of the theater artist Bernardo Channel, Antonio left Venice to Rome and met there with the works of Roman landscape players and theatrical decorators, mainly Panni and the Bibbien family. His style has developed very early and has not undergone pronounced changes on the path of its development. Already in the early work of Kayaletto "Skol Del Carita" (1726), the principles of his artistic perception were clearly expressed. There is little movement in his city landscapes, there is nothing illusory, volatile and non-permanent, however, they are very spatial; Colorful tones form plans of various intensities, relaxed in their contrast of light. Kanaletto writes types of Lagun, marble venetian palaces, stone lace arcade and loggias, rusty-red and grayish-pink walls of houses reflected in a rich green or bluish water channels, for which they slide golden gondolas and sweep the fish boats, and the people crowds on the embankments We can see idiot naobli in white wigs, monks in Sutanov, foreigners and labor people. With accurate, almost directorial calculations group canaltto small genre micezents; In them, he is vital, sometimes it is even pronounced and extremely scrupulous in the transmission of parts.

"Large Canal in Venice" (Florence, Uffizi), "Square in front of the Church of San Giovanni e Paolo in Venice" (Dresden), "Yard of Kamenotes" (1729-1730; London, National Gallery) belong to the best works of Canteltto. From his paintings in Soviet museums, it is necessary to call the "Reception of the French Embassy in Venice" (Hermitage) and "Departure of the Dwin on the Harry with the Adriatic Sea" (Museum of Fine Arts. A. S. Pushkin).

By purchasing wide fame from the 30s. As an artist who does not know equal in his genre, Canaletto was invited in 1746 to London, where, according to the orders of English patients, a number of city landscapes wrote, in which his flavor, devoid of bright and plastic black and white lighting, loses its former belliness and diversity, Becoming more sophisticated and local. These are "View of Whiteholl", "London City under the Arch of Westminster Bridge", "Holiday on Thames" and a number of others.

In addition to painting, Canteltto paid great attention to the engraving, which between 1740-1750. Received brilliant development in Venice. Almost all Venetian landscape players - Marco Ricci, Luca Carlevaris, Canaletto, Bellotto - were major masters of the etching. What happened to the larger canvas cannote - the movement, spirituality of all picturesque fabric, - completely performed in its etchings imbued with a real poetic feeling. Using the workshop of a linear technique, seeking deep and soft black and white transitions by means of a thin parallel hatching of various intensity, Cantelto simultaneously forced to "work" paper, interrupting a slightly wavy horizontal touches with light verticals or shadding bright places. And heavens, and clouds floating on them, as if customized with light breeze, and water, and trees come to life on his engravings. Fast and bold contours, runaway touches give the life authenticity and reality of its "port in Dolo" - a small area on the shore of the water basin, according to which a young couple is moving - a cavalier in a wig and camoles, leading to the hand to the lady in a lush toilet, which is involuntarily causing in memory Viewer Romantic Images Manon Lesko and Cavaller De Griece from the story of Abbot Preview.

Bernardo Bellotto (1720-1780) - a nephew and a pupil of Cantelto - was also one of the outstanding lights of the 18th century. A clear promising distribution of plans, extremely large, almost photographic accuracy in the reproduction of nature, the somewhat stressed surface of its paintings gives them some lifeless caused to a certain extent to which Belldotto widespread the reflections of the chamber-obscura in its works. His city leaders are not distinguished by the latitude of the artistic generalization, they have little mood, movement, airiness, but they represent a large artistic and documentary value. In addition to Italy, he from 1746 to 1766 worked at the courtyards in Vienna and Dresden, and from 1768 he was a court painter in Poland, where he created many species of Warsaw. In the thoroughness of the pictures of the details, it can be assumed that these leads give a more or less correct idea of \u200b\u200barchitecture, the city landscape and the life of that time.

Venetian Painting Netsecho flashed another name - Francesco Guard (1712-1793), an excellent artist, informed the great colorful traditions of Venetian painting for almost the 19th century.

He was a student of his older brother, Giovanni Antonio Guard (1698 / 99-1760) - a gifted painter, in the workshop of which he worked almost half of his life. Senior Guard, who created several altar paintings: "Death of St. Joseph "(Berlin); "Madonna with a baby and saints" (the church in Vigo "Anyunya), obviously, with the participation of the younger brother, in his manner in contact with Sebastian Ricci and Piazzetta.

For early works, Francesco Guard include several altar paintings - "Crucifixion" (Venice, Private Assembly), "mourning" (Munich). However, the most significant operation of this period is the painting of the body in the Church of Arkandellow Raphael in Venice with the image of the scenes from Tovia (approx. 1753). A number of plot and composite motives for this painting are borrowed by the artist from other Italian painters, but a bold and unusual coloristic solution turns it into the work quite original. Remote, as if flickering landscapes, overflows of glowing pink, purple, red, lemon, golden-orange, gray and blue tones, fragility and vibration of shadows, worship, almost the capriciousness of colorful comparisons are distinguished by its pictorial system. Among all Venetian masters, the Guard is most of all showing a tendency towards the transfer of an air environment, elusive atmospheric changes, the easy game of sunlight, wet Word Lagun, painted into the finest color shades. Light, as if by tremble blows, the Guard brush not only loined the form, but also reached the extraordinary mobility and spirituality of the entire pictorial surface of the picture as a whole.

The same years refers to the picture "Alexander in front of the body of Darius" (GMIA. A. S. Pushkin), which is a free copy from the painting of the Italian painter of 17 centuries. Langetti. It is difficult to imagine a more non-classical interpretation of an ancient plot. However, the brighted painting of the Guard and the authentic vortex of its light blue, red, dark brown, greenish colorful spots do not obscure a clear composite constructing pattern in the form of an ellipse, which intersects the diagonally located body of Darius - the semantic center of the composition.

But the most important side of the Guard's creativity is associated with the development of landscape painting, when he is from the 1740s. Under the influence of Mariesee and Canteltto, the drawings of which he has copied for a long time, began working in the field of architectural landscape. Following the Canaletto, Guardi, at the same time, she sought to overcome the linear and promising design of him.

In 1763, on the occasion of the beginning of the reign of the new Digest Alvise IV of the Moine, marked by a number of brilliant festivals, Guard wrote twelve large Venetian lead, almost accurately using the Cantelto composition for its paintings, engraved by Brownon. Such borrowing, as we see, met in the picturesque practice of Guardi repeatedly, but this did not decreased the dignity of his paintings; The air-color interpretation of the Guard transformed dry-reliable leaders in the images of Venice, complete trembling, movement and life.

Guard was a big painter master. Its main technique - drawings with pen, sometimes bruised by watercolor. In them he was looking for primarily movement and instant impressions. Earlier drawings are marked by rocial motifs, rounded lines, whimsical and flexible, movement is exaggerated, a much greater generalization appears in later; Blurred in mascara and a bistrity give them incomparable painting. Many of them are made directly from nature - the running clouds, the movement of water, gliding gondola are caught in them, their incorrect reflections, temperamental and bold turns of the figures. Buildings, stairs, loggias, colonnades are planned unfinished, bravura, crossing each other with climbing strokes. And the air grace of Venetian architecture and its structurality were transmitted by the artist with an amazing sense of line, at the same time intermittent and generalized.

The most characteristic artistic techniques of the Guard in his painting include free variations on the same favorite topic, the so-called Caprichecio. He finds all new and new motives for his constant "model", he writes Venice, which he did not leave all his life, at various hours of the day, opening all new colorful nuances, giving his scenery, then a romantic appearance, then painting them into the sad tones of lyrical meditation .

In the 1770s, Guard reached the top of his skill. Thin and free smears he writes squares, canals, streets, dilapidated buildings, outskirts and poor quarters of Venice, its secluded courtyards, desert lagoons, quiet alley, unexpectedly ending with a wide shaded arch, from the arch of which, like a giant transparent drop, hangs a glass lantern, As if melting in the foster evening air ("urban look"; Hermitage). Essentially, the Guard has transformed the type of decorative-scenic leaders? who dominated the Venetian painting of the middle of the 18th century, in the landscape of the subtlest lyrical sound, imbued with deeply personal experience.

By 1782, two large series of "festivities" performed by the Guard on official orders belong. The first of them consisted of four canvases dedicated to the stay of Pia Vi in the Venice Republic, the second was written in honor of the visit of the heir to the Russian throne of the Grand Duke Paul Petrovich in Venice and included five paintings. Four of them have been preserved - "Ball at the San Benedetto Theater" (Paris), "Solemn Concert" (Munich), "Banquet" (Paris), "Holiday in St. Square Mark "(Venice).

The "solemn concert" is one of the most brilliant works of the artist. In this picture, it was captured by the elusive, which was especially inherent in the mastery of Guard, - transferred the spirit of the gallant festival of the 18th century. Here seems to be hearing the music itself, which flies with the lightweight bows of the violin female orchestra. In the soft twinkling of candles, illuminating the high ballroom, as if waving the waves with warm air; Blue, red, yellow, brown, silver-gray tones flash luxurious ladies toilets written by the swirl of tremble luminous colorful smears. Light blows of the brush Guard is hampered by faces, wigs and hats, then transparent, then pastose stains indicate figures.

In 1784, the Guard, fulfilling the official order of the procurator of the republic, writes the picture "Lifting a balloon in Venice" (Berlin), depicting an event, extraordinary for that time. Using the usual motive, the Guard puts the shaded stone canopy in the foreground, under which curious spectators are crowded, and in the frame of the columns, a pink cloudy sky can be seen with a swinging balloon.

In their later works, Guard came to the greatest generalization and conciseness of pictorial funds. In one of the last excellent paintings by the artist, the "Venetian lagoon" (approx. 1790; Milan, the Museum of Polandi Petzoli), performed in the colorful colors, but the richest in shades of colorful range, is not depicted, except for the deserted bay with several gondolas and flowing Wet air, in which the outlines of the visible churches and palaces are like a melting.

Modest, devoid of external effect Small paintings of the Guard were not sufficiently estimated at one time and remained in the shadow next to the full glitter and splendor of the works of Thipolo. Only many decades later, the true importance of its work was revealed, which are not only the outstanding monuments of Nettaste, but also the foresight of many achievements of the realistic landscape in the art of the 19th century.

Simultaneously with the Venetian school, which served as other schools of Italy developed the leading position in the art of Nettachno.

The most major representative of the Neapolitan school was Francesco Solima (1657-1747), in his style associated with late-breast painting of the 17th century. Having experienced the impact of Lanfranko, Luke Jordano, Pietro and Corton and Petach, Solman worked mainly in the field of decorative painting, painting the frescoes Neapolitan churches (San Paolo Maggiore, San Domainnko Maggiore, Jazu Nuovo). His brushes also belong to altar images, paintings on religious and allegorical topics and portraits.

Spectacular scenic manner of saltmen with its dark brown spots contrasting with yellow and lilac tones and red shocks, its dynamic compositions at the same time carry the imprint of a peculiar chill as in the outcome of the acting persons, the impulse of which are deprived of passionate pathos, who distinguished the image of baroque masters. The preceding century, and in the flavor, where the common umbrella-gray tone slippers.

Among his students should be noted by Juseppe Bonito (1707-1789). Working first in the Spirit of Solimen, Bonito later moved away from him towards the household genre, but could not finally break with the principles of decorative style. The plots of his paintings, bright, but somewhat cold in color, are mainly carnival scenes.

In the first half of the 18th century Among the various artistic directions of Italy, it was clear that the genre's democratic in its content. This direction that has received the Name of Pittura della Realita from researchers (real world painting), combined many masters who applied to the image of everyday life and choose the plots of their paintings with various household and common scenes. Simultaneously with Bonito, Neapolitan Gasparo Traversary worked (worked between 1732 and 1769) - a bright and interesting artist who was influenced by the art of Caravaggio. It is distinguished by a sharp light, embossed shape model, live, sharp composition, temperamental turns of the figures. His best works belong to the "wounded" (Venice, Collection of Brass), "Secret Letter" (Naples, Capodimont Museum), "Drawing Lesson" (Vienna).

Masters of this direction we also find in Lombardy, including Bergamo and Brescia. Among them, Gakomo Francesco Chipper, or Todeskin, obviously, German, but all his life worked in Italy, and Lkopo Cheruti (worked in the second quarter of the 18th century). The first is the author of numerous unequal in the quality of genre paintings depicting shoemakers, musicians, players in cards, women at work. Yakopo Cherti was the most prominent representative of this direction. The actors of his paintings are almost always labor people. Its best works include the "Bundoch" - a woman who is erasing underwear in a stone pool; Her face with huge sad eyes addressed to the viewer (Brescia, Pinakotek). "Beggar Negro", "Young man with a tube", "Woman, a fucked basket" - These images transmitted with lively observation are distinguished by a great force and a sense of artistic truth. From other pawnshop painters, Francesco Londonio worked in Milan. In Rome in the first half of the 18th century. Antonio Amorosi is allocated, the author of the scenes from the life of the simpleness.

In general, however, the development of this direction in Italy was short-lived - its democratic trends did not find due response and support in the social and artistic environment of the time.

Rome's art life was not less saturated than in Venice. From the beginning of the 18th century, Rome became a genuine international art center, where not only art people, nuya scientists, archaeologists, the largest historians and writers of that time were flocked.

Excavations of ancient Rome, Herculaneum, Pompeii, the temples of Pestum in southern Italy opened before the eyes of people of the time of the treasures of ancient art, which became accessible to Furnishing. Ovened to the spirit of romantic discoveries and surprises, Italy is unstoppablely manila to himself and young artists of all countries and nationalities, for whom a journey to Rome became a cherished dream, and obtaining the Roman Prize - the highest award after years of apprenticeship held in the walls of academies. A very significant role in familiarizing with the history of ancient art was played by the works of the famous German historian Art of Winelman, the passionate enthusiast of ancient culture, eyewitness of the great archaeological discoveries, the description of which he devoted a number of his works. The most generalized of them was his book "The History of Art of Antiquity" (1764), where for the first time the overall course of the development of Greek art was traced, whose character Winkelman defined the concepts of "noble simplicity and peaceful greatness." Despite a number of errors and incorrect estimates of the social and ideological essence of Greek art, the idea of \u200b\u200bwhich Winkelman could receive mainly from Roman copies from the Greek originals, his book was a genuine discovery for the 18th century people.

Not surprising therefore was the fact that Italian artists of the Roman school could not pass by the ancient motives in their work. One of them was Pompeo Batoni (1708-1787), who wrote a number of compositions on mythological and religious plots, distinguished by some sophistication of images and a cold color, - "Fetida gives Achilla to Hironu's upbringing" (1771), "Hercules at the crossroads" (1765) (both - Hermitage), "Drying Magdalene" (Dresden, Picture Gallery).

In Rome's rim life, the French Academy also played a big role, which collected young painters around him, whose artificial activity was more lively and fruitful than lifeless, artificially-program creativity of Roman neoclassicists, headed by the German painter Raphael Mengs. From the French masters in Rome, the painters of Vieen, Gubert Robert, Fragonar, Syubleira, David, Sculptor Frajor, Architect Souflo and a number of others. In addition, there was a colony of German artists. Many of the French masters developed the motifs of a classic landscape, already at 17 V. Presented by the largest French painters who lived in Italy, - Pussen and Claude Lorren. In this genre, on a par with the French, Venetician Francesco Tsukkarelli (1702-1788), the author of idyllic landscapes, as well as a representative of the Roman school, known in its time, "Ruinopizer" Giovanni Paolo Panni (1697-1764), who portrayed not only Roman leaders, but also Various outstanding events of their time, as well as the interiors of churches.

The majestic ruins of the Colosseum, dilapidated colonnades in Pompeiy and Pestum, Mausoleums, Obeliski, Reliefs, the statues gave an infinite exposure to artistic imagination and attracted paintings, draftsmen and engravers who performed free compositions on antique motives, combined with the image of scenes from everyday life. "Rome, even being destroyed, teaches," Guber Robert wrote on one of his paintings. These landscapes enjoyed tremendous success among the Roman and French nobility and, like Venetian leaders, were widespread in the art of the 18th century.

But the most outstanding phenomenon in the field of this genre was the work of the famous master of architectural drawing, archaeologist and engraver Giovanni Battist Piransemi (1720-1778), inspired by its architectural fantasies, whole generations of artists and architects. Venetsean for birth, he lived almost all his life in Rome, where he had a "insurmountable desire to explore and see those famous cities where so many great things were made, and draw their monuments - witnesses of the Great Past," as his biographer writes.

The studies of Italy's deeply passioned by the study of the architectural heritage of Italy, Pryrase, also familiarized himself with the work of a large and branched family of theatrical architects and decorators of Bibbien - immigrants from Bologna, but who worked like most of the Most Sethenate Masters in addition to Italy in various cities of Europe - Baireit, Vienna, Prague and others. Their treatises and the doctrine of promising illusionism, as well as the decorative work of Andrea Pozzzo,

Panni, Valeriani brothers, had a great influence on him. In the works of Pirase, the late Roman baroque manner is almost close to the style of the nascent classicism. Interest in theatrical and decorative compositions contributed to rooting in its works of anonymous-promising perception of space and deep contrasting lighting.

One of its early works published in 1745 and 1760, is Suite from the fourteen large engravings of the "Tomnov" ("Carceri") depicting endless multi-storey vaulted premises crossed by beams, stairs, gallery, lifting bridges, where in the contrasts of groka And lights hanging from ceilings blocks, levers, ropes, wheels, chains are bizarrely mixed with the debris of ancient columns, friezes and bas-reliefs. These fantastic compositions are probably inspired by modern Pirassa theatrical scenery, differ in volatile, but nevertheless an architecturally crystallized space is clearly outlined in their details.

The architectural language of Piracheus could not actively express himself in the real construction of Italy of that time. "A modern architect does not have a different exit, how to express their own ideas among the pictures alone," wrote Pirase, creating his "imaginary architecture" in separate etching series. Its main cycles are devoted to the majestic facilities of ancient Greece and Rome.

I do not seek an accurate archaeological reconstruction of monuments of ancient architecture, Pyransemi in addition to the free interpretation surrounded them by a special romantic halo, which caused sharp reproaches and attacks him from the modern scientists and archaeologists. His etchings are rather memorial monuments to the Great Past of Rome, to whom he worshiped with a restless passion.

In 1747, Pirachea issues a series of etchings "Types of Rome", in which it reaches the extraordinary monumentality of the architectural image due to the maximum approach of the depicted buildings to the foreground shown to the same with a very low point of view. Small figures of people seem fine and insignificant compared to huge columns and arches. Working always in the technique of etching, Pirasemi softened the contours of deep black and velvet shadows that attach an extraordinary painting to all his compositions. In images of Roman bridges, he especially emphasizes the power of the ancient Roman buildings, transmitting their proud greatness. The same mood will penetrate the etching "Castle of St. Angel in Rome. "

The monumental four-volume suite "Roman antiquities" is distinguished by the striking latitude of the material, published in 1756. It belongs to the most remarkable creations of Pirasei, his last suite of the etchings with the species of the ancient Greek temple of Poseidon in Pestum. The engraving needle Piransei creates miracles here, giving these compositions the deepest painting due to the harmonious distribution of light and soft black and velvene shadows. The variety of points of view is striking here: the giant colonnades appear in front of the viewer in different angles, long-distance plans are impassable in soft and warm air, the foreground, free and lightweight, devoid of all the clutter, characteristic of previously pyransemi, is successfully filled with the Stafferage - under the seven of the dilapidated columns Artists are located and lovers of antiquities roam. Part of the unfinished engravings of this cycle after Piranets's death completed his son Francesco (approx. 1758/59-1810), who gave a graphic manner of his father.

The artistic results achieved by the masters of the Roman school in the 18th century were generally less significant than the achievement of Venice. But her main merit was to propaganda the ideas of ancient art. And they, in turn, having received a new social pointedness, saturated with deep content and high civilian pathos, served as a powerful incentive for the creativity of the advanced European masters of the eve of the New Epoch, which opens up the French bourgeois revolution of 1789.