How did Spanish artist Ezopa depicted. Strange decision Velasquez

21.06.2019

Biography Haruki Murakov Haruki Murakami emphasis

In the lesson, we carry out work with the sculptural image of the Ezop and the portrait of the Basinista. We also use materials of the book M.L. Gasparova "Entertaining Greece". Stories about ancient Greek culture. - M.: New Literary Review. - 2004. - 428 p.

Sculptural portrait of Ezopa

First consider the sculptural portrait of the Basinista. A passionate fan of an ancient and classical art Italian church and patronage of Alessandro Albani (1602-1779) built a famous villa of Albani in Rome, in which he posted his collection of ancient Greek and Roman works of art. Among them - Bust Ezopa. Sculpture dated i-V century. However, there is a legend that the image of the Ezop in the form of a statue was made by Lisipp or his student Aristoral in the series "Seven Ancient Wise men" (IV century BC).
The statue clearly displays the features of Ezop, which go down to the traditional ancient Greek perception of the legendary Basinist. Symmetrically hanging on the forehead strands of thick hair, sufferer eyes under cool abrupt arcs, wrinkled forehead, as if even at that moment burdened with deep thoughts, protruding thin clavies, short neck and noticeable stuff (as a familiar feature of the image in the ancient art of posture of the slave).

Portrait of Ezopa Brush Diego Velasquez

And now carefully consider the portrait of Ezopa Brush Diego Velasquez (1599-1660). The picture was created around 1638 g. (Canvas, oil, 179 x 94). Stored in Madrid at the Prado National Museum. The portrait appears the image of a poor slave, rejected by society, but formed an ironic attitude to the world, and therefore acquired true internal freedom. Widely planted dark eyes, wide nose, sharp cheeks, shoulder thin cheeks, skeptical outflowed lower lip. On the face - sad indifference and the wisdom of a person who made the true price of life. Imprinted the Basinist Full Growth, the artist gives him the outline of a stray philosopher: an old free coat, carelessly opening breasts, simple hiking boots, and a book in the right hand, testifying to the intellectual preferences of the person depicted on the picture. It wasop that Ezop's contemporaries and this way, after legends and legends, represents us the Basinist artist Diego Velasquez.

Essay about Esophe

The people about Esopa told a lot. They said that he was ugly, almost ugly: head as a boiler, nose smoky, lips thick, hands short, humpback spin, strolling belly. But the gods were awarded to a sharp mind, the resourcefulness and gift of the word - to compose the fables. Even the owner was afraid of his speech slave. One day he decided to get rid of Ezop - to lead him to the slave market on the island of Samos and sell. When they gathered on the road, they began to distribute the road to distribute between slaves. Ezop asks comrades: "I'm here new, weak, give me that bread basket", - and shows the greatest and heavy. Laughed at him, but Dali. However, on the first prival, when everyone filed bread, Esopov basket immediately became easier, and the rest of the slaves their bags and drawers were as heavy and remained. It happened here it became clear that the mind of the freak was not slipping.
And here are some more fun stories.
On the island of Samos, the prostacle-philosopher Xanf lived. He saw three slaves on sale: two were handsome, and the third - Esop. He asked: "What do you know how to do?" The first said: "Everything!", The second said: "Everything!", And Ezop said: "Nothing!" - "How so?" "Yes, here my comrades are still able, I left nothing." The Xanf resourcefulness of Ezopa was posted and bought it, hoping that he would help him in making important decisions.
Somehow Xanf decided to arrange a treat to the disciples and sent the Ezop to the market: "Buy us all the best, what is in the world!" Guests came - Ezop gives alone languages: fried, boiled, salted. "What does it mean?" - "Isn't the best tongue in the world? Languages \u200b\u200bdo people agree, establish laws, reason about wise things - there is nothing better than the language! " - "Well, so for tomorrow I will buy us all the worst what is in the world!" Tomorrow Esop again gives alone languages: "What does this mean?" - "Is the language not the worst in the world? Language People deceive each other, they start disputes, discord, war - there is nothing worse than the language! " Ksanf was angry, but could not find fault.
Sent Xanf Ezop shopping. I met Ezop on the street of the Samos Grador. "Where are you going, Esop?" - "I do not know!" - "How do you not know?" Speak! " - "I do not know!" Engaged Grador: "In the prison of stubborn!" They took Ezop, and he turns around and says: "You see, the boss, I told you the truth: did I know that I was going to jail?" The boss laughed and let go of Ezopa.
Ksanf gathered in the bath, says Ezopu: "Go ahead, look, how many people in the bath?" Esop returns and says: "Only one person." Xanf was delighted, goes and sees: the bath is complete. "What are you talking to me?" - "Not nonsense I told you: I lay in front of a bath on the road, all stumbled about him, they swore and went further, and only one was found, which stumbled, so I immediately took a stone and threw off the way. I thought that there are many people here, and the real person is one. "
Many times asked Esop Xanf to free it, and Xanf did not want. But it happened on the self-alert: Senate the state council before the people, and the eagle flew off from the sky, grabbed the state seal, he filmed ahead and dropped her to the sinus to Slave. They called Xanf to interpret the sign. Not knowing what to say, he said: "This is lower than my philosophical dignity, but I have a slave, he will all plunder." Ezop came out: "I can say, but not to the face of a slave to give advice to free: Free me!" Released Xanf Ezop from slavery. Esop says: "Eagle - Bird Tsarist; Otherwise, the king of Krezon decided to conquer the Samos and turn him into slavery. " The people was upset and sent the Ezop to the king creek asking for condescension. I liked the generous king smart freak, he came up with self-making, and Ezopa made his advisor.
The Ezop still lived for a long time, composed Basni, visited the Babylonian king, and Egyptian, and on the feast of seven wise men ... Esop composed Basni because he was a slave and speak directly what he thought was dangerous for him. Therefore, he came up with an allegorical language, who later received the name of Ezopovsky.
And he died in the Greek city Delphi. It is known that the Delphs were built by the temple of Apollo, and the city lived under the auspices of this powerful God of light, knowledge and art. From all over Greece, she flocked in Delphi asposers, as in the temple of Apollon was a prisoner who answers the questions of visitors about their future. Therefore, the temple flourished by offenses of the parishioners, rich every year. I looked at Ezop, how Dalphites live, who do not sow, do not zaughty, and feed only from the victims, brought by Apollo with all the Hellen, and he really did not like it. Delphians were frightened that he would break a bad mall about them, and went to deception: they threw the gold cup of the temple into the bag, and then grabbed, accused of stealing and sentenced to death - they dropped the Ezop from the rocks. For this, their city has suffered a plague, and for a long time they had to pay death for Ezopov.
So they talked about the folk sage Ezophe. (According to the materials of the book by M.L. Gasparov).

ESOP (OK. VI B. BC) - an ancient Greek writer, Basinishet, is considered the Basni genre of the genre. From the descriptions, he appears by a man ugly, hunchback, but infinitely wise and endowed with a literary gift.

The texts of the fables of Ezopa brief, simple in content, the plot is not cluttered with detail and is also extremely simple and, that is important, morality is declared clearly. The language is close to the ordinary, conversational, there are few adjectives in it and often encounter verbs, because Esopovskaya Basni is, first of all, a story about a act, action, and not a description of the situation. In these texts, they rarely meet the dialogue, except the direct replica denies the junction. Often the fables of Ezopa have four parts: the exposition, plan, action and an unexpected finale. In some cases, this scheme varies towards the simplification of the composition or, on the contrary, its complications.

The characters of Basen Ezop are animals and plants (more than 80 of their species), people of various professions (their researchers counted about 30), also gods and mythological figures. The most popular characters are a fox, a wolf, a snake, a lion, donkey, a dog, a peasant, etc. They all, however, are figures with conventional, carriers of specific functions.

Many stories of "Ezopova Basen" reader are great for treatments made by J. Lafontiton, I. I. Dmitriev, I. A. Krylyov, and others. These include "Raven and Fox", "Fox and Grapes", "Wolf and Crane "," Wolf and a lamb "," Beetle and ant "," Horse and donkey "and others.

Portrait of Ezopa
to full height.

Before you - Painting of the painter of Velasquez "Esop"
(1639-1641). Art historians have calculated that she
He entered the cycle of paintings ("Mars", "MeniPP", etc.),
intended for the royal hunting
Castle Torre de la Parade near Madrid.

Remember who is shown on it? This is Esop,
Negicheskaya Basinist, considered by the Creator
Basni. According to legend, he lived near the middle of the VI
century BC e. Legends draw Ezop folk
Sage, Yurodiv and Chrome Slave of the Samuta
Jaadmon, immunely discarded from the cliff in del
Fakh. He was attributed to the plots of almost all
in antiquity of the Basen, processed by many
They bass, from Antique Fedra and Babria
Zhana de Lafontaina and Ivan Krylova. We already
accustomed to the fact that under the Esopova Basney
I know the fastener in which acting persons
Other animals and other wordless su-
and objects, allegorically imagining
People, their characters and actions.

In this regard, the question. Strange surprise
I watches me when I look at the "Ezopa" Diego
Velasqueza. Why the artist left his hand
Character under the dress - instead of being
Split it over, loosely elongated along the body?

What did he want to say? With all my fantasy
Not enough to answer this, I hope simple
question. Maybe you will help?

~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^

Illustration: "Invisible Basinist's Hand"

Reviews

"Before you - the painting of the painter of Velasquez" Esop "... Remember who is shown on it?" Yes, yes, of course, "remember" - I thought - because we see it for the first time ... And then I read it: "This is Esop." Funny! ☺

Versions such:
1. It was difficult to convey the look of the Basinista. Diego was not pleased with the way the face showed and made a distracting maneuver.
2. Esopa is characterized by a raw, in his works there is always the second plan ...
3. "Creativity reveals ..." - says the artist. I explain: manuscripts (book) symbolize creativity. If the right hand of Ezopa was free, then she ... too, it would also be slightly lower than the chest, forming a "lock".
.................
There are many options, I'm tending to the next: imagine that the left hand of Ezopa is omitted - it is not interesting ... And so - the mystery!

Vladimir, thank you! I wanted you to go to us anything! ☺

I would like this too. And in mine
The portfolio has already accumulated a lot of
gadget. But - read, if not
Extra, my resume. I am now
Not before entertainment ...

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Today in St. Petersburg there is an exhibition from the "Museum Museums in the Hermitage" cycle, on which two pictures of the great Spanish artist Velasquez will be presented

On October 21, an exhibition opens from the "Museum Museums" cycle - "MeniPP" and "ESOP" from the Prado Museum. On the exposition organized by the State Hermitage, together with the Madrid Museum of Prado, two canvas of the Great Spanish Artist Velasquez (1599-1660), belonging to the most famous masterpieces of world painting. The names of the thinteries of antiquity are indicated in the inscriptions in the paintings.

The famous Basinist Esop lived in the VI century BC. e. His apocryphalistic biography was drawn up in the XIII century, the writings were first published at the end of the 15th century and widely spread in Europe in the XVI and XVII centuries. According to legend, Ezop was a slave released to freedom, a mercilessly witty author of moral centlences, in which he often expressed his ideas through the conversation of animals. He died, becoming a victim of bold statements to human vices. In Spain, the works of the Basinista knew well, the Greek language was studied in schools.

The picture of Esop is depicted with a book, below next to him on one side of Lohani and a rag - a hint of daily slave classes; On the other hand, the things laid on the road and the Golden Bowl, in the theft of which the Basinist was falsely accused and dropped with the mountains of Apollo in the city of Delphi.

The Menipp philosopher lived much later than Ezopa, in the III century BC. e. Information about him is known thanks to Diogenes Lanert and Lucan from self-sugar. Like Ezop, Menipp was a liberated slave, managed to get rich, engaged in usury, then she lost his condition, life ended suicide, having fun. He belonged to the Philosophical School of Kinikov, who denied the scientists who were fully criticized, in Spain, the time of Velasquez Kinikov were accused of souls. "Dialogues" of Lukian with mentions of the menippe, were as well known as the essays of Ezop, they were also used in schools to teach Greek language.

Menipp on the picture sarcastically smiles. His book has a book, he tramples them, as he rejects scientific knowledge. Nearby is a jug, delivered to the playground with wheels. The jug in the iconography of the XVII century was associated with a woman. Its presence in the composition can be explained by the fact that images of antiquity thinkers made up an ensemble with the Mars web. It is believed that Esop, MeniPP and Mars were written for the Royal Hunting Pavilion Torre de La Parade, built in 1636. The paintings were mentioned together in the earliest of the preserved inventory (1701). All works of the same size, all for antique plots. Their connection into peculiar "triptych" could have a special meaning.

"Mars" in the interpretation of Velasquez looks very strange. This is not a formidable, young and wonderful god of war, how his Spaniards of Velissz times were represented by him, but middle-aged man, beginning to get old. He sits on the bed, in thought, almost completely naked, but in the helmet, weapons are thrown at the feet. The image of the god of war is clearly reduced. In such an interpretation, one see a hint of passion to Mars with lovers to the detriment of his main occupation, war. Others go even further in the disclosure of the content of work and associate it with the military defeats in Spain in the second half of the 1630s. It is possible that both ideas were meant. In the context with Mars, it is clear why it is "Ezop" and "MeniPP", the Basinista and China, who differ in critical, bold and uncompromising judgments, are located next to him.

Antique wise men are reasonable, presented in the form of beggars. They are sharply characterized, perfectly written. "ESOP" - in a dense picturesque manner, "MeniPP" with a more fluid smelter. Figures are shown at a low point of view, drawn by majestic silhouettes on a neutral background. Coloring is designed in a strict, strict brown-olive range.

The significance of the images and the skill of the execution of the painting "ESOP" and "MENIPP" has always attracted attention to both connoisseurs of art and artists. Francisco de Goya engraved, Eduar Mana was focused on them, creating his "philosophers," they made copies of painters, including, and

Diego Velazquez 1599-1660

Born in Seville in 1599, in a poor noble family, whose ancestors were Portuguese Jews. He studied painting in his hometown first from Francisco Errera-senior, and from 1611 from Francisco Pacheco, Humanist, Poet, the author of a painting treatise. Velasquez has fed a drawing, picturesque techniques, work from nature. In 1617, Diego received the title of Master and soon opened his own workshop. In 1618, a young artist married her daughter of his teacher - Juan Miranda Pacheco. In the next few years, two daughters were born, one of whom died in infancy.
Most of the works of Velasquez, created during the period of study and immediately after it, devoted to the image of household scenes (in the genre "Bodegoness", when a Tavern or Kharchevnya is acting a place of action), the main characters of which are simple people of Seville ("Breakfast", "Old Cooker", "Waterproof"). In the paintings on religious themes, the traditions of Bodegoness are also traced: "worship of the Magi", "Christ of Martha and Mary". During these years, the artist writes the first portraits, in which the peculiarities of Velasquez-portrothist are determined - sharply seized similarity, the brightness of identification of individuality: "Portrait of the nuns of Heronima de la Fuent."

"Breakfast" 1617

"Christ in the house of Martha and Mary" 1618

"Immaculate conception" 1618

"Old woman frowning eggs (cook)" 1618

"Waughs worship" 1619

"Portrait of nuns Heronima de la Fuente" 1620

"Mother Jeronima De La Fuente" Fragment

"Miracle in Emmaus" 1620

In 1622, he was sent to Madrid for the first time, and the next year, with the assistance of the first minister, the Duke de Olivares, he managed to receive an order for the portrait of the king.

"First Minister Duke de Olivares"

"Philip IV" 1624-26

The "Portrait of Philip IV is a past", a Furior, and the author became a court artist, and soon and a cameraman, received a workshop in the palace, was appointed keeper of royal collections. Velasquez fulfilled a number of official orders: the front portraits of the king, members of his family, representatives of the nobility. In addition, he created the gallery of images of Spanish culture workers: Lope de Vega, Tirsco de Molina, Calderon, Keshedo.

"Selee of water in Seville" 1623

"Philip IV on the hunt" 1632-1633

In 1627, according to the competition with other artists, he wrote a picture of "Exile Mavrov" and received the title of Hofmeister. In 1629, the artist completes the picture unusual for the Spanish tradition on the ancient plot - "Vakh", or "drunkards", which is interpreted as a scene from a folk life, a feast of merry peasants. Acquaintance and communication with Rubens, who visited the Spanish yard in 1628-1629. With a diplomatic mission, he inspired him to travel to Italy, where in 1629-1631. Velasquez studied and copied the works of Titian, Veronese, Tintoretto, Rafael, Michelangelo, antiquity monuments. At the same time, his style changed - became more free and brilliant, flavoring less dark in the shadows and the transmitting nature in bright lighting. Recompts to mythological theme in the "forge of a volcano", Velasquez gives the image genre.
Portraits created by Velasquez at return, in 1630-1640, brought him the glory of the master of this genre. Facreled-cold front-end horse portraits of royal parts are distinguished by restrained magnificence of poses, clothes, horses, the magnitude of landscape backgrounds. In portraights of courtiers, friends, students Velasquez accumulated and synthesized his observations, selected the necessary visual means. In these canvases, there are usually no accessories, gestures, movement. Neutral background has depth and airiness; Dark tones of robes send the attention of the viewer on exactly illuminated faces. Founding for each portrait unique combinations of shades of silver-gray, olive, gray-brown colors with general restraint of the gamma create individual imagery of images (portraits of Juan Mateos, Duke Olivares, "Lady with fan", a series of portraits infant). The portraits of royal jesters, mentally ill and dwarfs occupy a special place. The images of the dwarfs are striking by energy, mind, views, full of inner strength, grief, which is a contrast with their physical impact (El Bobo del Coria, "El Primo", "Sebastian del Morra"). In the pair paintings "MeniPP" and "ESOP" appear images of people who have fallen and rejected by society, but those who have acquired internal freedom from the sympathetic state of conventions.
One of the most significant pictures of this period was "delivering nonsense" (1634-1635), in which Velasquez abandoned the traditional conventions of historical canvases of that era. Each of the warring sides is characterized with deep humanity. Dramatic is disclosed through the psychological characteristics of the acting persons shown with portrait confidence.

"Delivery of nonsense" 1635

In 1642-1644 Velasquez accompanied the king in his campaign to Aragon, and at the end of the 1640s. He again visited Italy to acquire art for the king. The artist was met with the honorable, the portrait of his servant and the student, Mulat Juan the pairs enthusiastically been met in Roman artistic circles. In 1650, Velasquez was elected a member of the Roman Academy of St. Luke and virtuoso society Pantheon. The portrait of the Roman Pope Innokentia X, an extremely brave image of frankness, became the most famous creature of Velasquez outside of Spain. Dad in the parade closure appears to the audience as a man of bright temperament, smart, domineering, energetic, but also cruel, cruel. Vlasquez turns to the landscape and creates two small species, which depict the corners of the Park Villa Medici. Probably, the masterpiece "Venus with a mirror" (1657) was created upon return. The topic is inspired by Italian impressions, in Spain, the image of a nude female body is prohibited by the Inquisition. Velasquez shows the beauty of a living woman, flexible, executed grace, bringing a bribed divine image with earth.
In 1651, Velasquez returns to Madrid, and in 1652 he was appointed Royal Ober-Hofamarshal. The new position took a lot of effort and time (the duties included preparation and organization of festivities at the courtyard). Portrait of the late period of Velasquez's creativity is largely characteristic of artistry and psychological completion (Infanta Maria Teresa, 1651; Philip IV, 1655-1656; Infanta Margarita Austrian, about 1660).
In the second half of the 1650s. Velasquez wrote the two most famous his paintings. In the "meni", the main heroine is the five-year infanta of Margarita, frozen in the famous posture of a notable lady. The artist transmits her soft, children's features. The royal couple is watching her who poses the artist (in which Velasquez depicted himself, and the monarchs left outside the canvas - only in the form of reflection in the mirror). Near the infanta numerous Freillins. Velasquez shows the courtiers on the everyday situation, exhibiting everyday life, presenting it raised, monumentally. The picture is built on the intertwining of the official and domestic, on a multifaceted game of semantic shades and shaped comparisons. "Fight" - a workshop image, where carpets for decorating palace halls were restored and tangled. In the background, three ladies consider the trenches, on one of which the myth about Aranes is depicted. In the foreground - several workers. This is the first work in the history of European art, glorifying the activities of a simple person.
In 1660, Velasquez was accompanied by Philip IV at his trip to France's border, for a date with Louis XIV on the occasion of marriage of the latter with Infanta Maria Teresia. The design of the festivities accompanying this date, so tired by the artist that he fell ill and soon at his return to Madrid died. His student and his husband of his daughter Francisi - Juan Batista Del Maso turned out to be the immediate heir to his court.
Velasquez rendered a great influence on painting his homeland, among his students there were such masters like Murillo and Kappeñ de Miranda. One of his teachers called Velasquez Goya. In the XIX century Slava Masters went beyond Spain. Velasquez is one of the key figures in the development of art mana, which admired the art of the smear of the Great Spaniard. Themes of Velasquez, Pablo Picasso and Salvador Dali in their works were developed in their work.

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