Pictures of impressionists. Works on the picture mana x-ray picture
Picture of Jacques Louis David "Oath Horatiyev" is a swivel in the history of European painting. Stylistically, it still belongs to classicism; This is a style focused on antiquity, and at first glance, this orientation from David is preserved. "Goraciyev Oath" is written on the plot about how the Roman Patriots three brothers Horace were chosen to fight with representatives of the hostile city of Alba Long by brothers smoking. This story has Livia Tita and Diodorus Sicilian, Pierre Cornell tragedy wrote on her plot.
"But there is exactly the croata Horatian absent in these classic texts.<...> It was David that turns an oath into the central episode of the tragedy. The old man holds three swords. He stands in the center, it represents the axis of the picture. To the left of him - three sons who merge into one figure, right - three women. This picture is awesome simple. Before David, classicism for all his orientation on Rafael and Greece could not find such a harsh, simple male language to express civil values. David seemed to hear what Didro said, who did not have time to see this cloth: "It is necessary to write as they said in Sparta".
Ilya Dorontchenkov
In the time of David, antiquity first became tangible due to the archaeological discovery of Pompeii. Before him, the antiquity was the sum of the texts of the ancient authors - Homer, Vergil and others - and several dozen or hundreds of non-ideally preserved sculptures. Now it has become tangible, up to furniture and beads.
"But nothing of this is not in the picture of David. In it, antiquity is strikingly reduced not so much to the entoux (helmets, wrong swords, tops, columns), how much to the spirit of primitive fierce simplicity. "
Ilya Dorontchenkov
David thoroughly compressed his masterpiece. He wrote and put it in Rome, gathering an enthusiastic criticism there, and then sent a letter to the French patron. In it, the artist reported that at some point he stopped writing a picture for the king and began to write it for himself, and, in particular, decided to make it not square, as required for the Paris salon, and rectangular. As an artist, it was counted, rumors and a letter had a public excitement, the picture booked a profitable place on the salon already opened.
"And here, with a delay, the picture is watered in place and stands out as the only one. If she were square, she would have hung in a number of others. And changing the size, David turned it into a unique one. It was a very domineering artistic gesture. On the one hand, he stated himself as the main thing in the creation of the canvas. On the other hand, he has attracted general attention to this picture. "
Ilya Dorontchenkov
The paintings have another important meaning that makes her masterpiece for all times:
"This canvas drawn not to personality - it turns to a person standing in the ranks. This is a team. And this is a team to a person who first acts, and then reflects. David showed two non-cycle, absolutely tragically divided world - the world of existing men and the world of suffering women. And this comparison is very energetic and beautiful - it shows that horror, which actually stands for the history of Horati and for this picture. And since this horror is universal, then the "oath of Horati" will not leave us anywhere. "
Ilya Dorontchenkov
Abstract
In 1816, Senegal had a collapse of the French frigate "Medusa". 140 passengers left Brig on a raft, but only 15 were saved; To survive in a 12-day walnia on the waves, they had to resort to cannibalism. In French society, a scandal broke out; The guilty of the catastrophe recognized the incompetent captain, royalist on convictions.
"For the liberal French society of the disaster of the frigate" Medusa ", the death of a ship, which for a Christian man symbolizes the community (first of the Church, and now the nation), became a symbol, a very bad sign of a starting new restoration regime."
Ilya Dorontchenkov
In 1818, the young artist Theodore Zheriko, who was looking for a worthy topic, read the book of survivors and began to work on his picture. In 1819, the picture was exhibited at the Paris Salon and became a hit, a symbol of romanticism in painting. Zheriko quickly abandoned the intention to portray the most seductive - the scene of cannibalism; He did not show the stabbing, despair or the moment of salvation itself.
"Gradually he chose the only right moment. This is the moment of maximum hopes and maximum uncertainty. This is the moment when people who survived on the raft are first seen on the horizon Brig "Argus", which first passed by the flesh (he did not notice it).
And only then, going on the counter course, stumbled upon him. On the sketch, where the idea was already found, "Argus" is noticeable, and in the picture it turns into a small point on the horizon, disappearing, which attracts his eyes, but no matter how it does. "Ilya Dorontchenkov
Zheriko refuses naturalism: instead of the exhausted bodies in his picture, beautiful courageous athletes. But this is not idealization, it is universalization: the picture is not about the specific passengers of "jellyfish", it is about all.
"Jerico scatters in the forefront of the dead. It was not he invented: the French youth was cracked by dead and wounded bodies. It excited, beat around the nerves, destroyed the conventions: the classicist cannot show ugly and terrible, and we will. But these corpses have one more value. See what is happening in the middle of the picture: there is a storm, there is a funnel, in which the look is drawn. And by bodies, the viewer, standing right in front of the picture, walks on this raft. We are all there. "
Ilya Dorontchenkov
The picture of Zheriko works in a new way: she is not addressed to the army of the audience, but to each person, everyone is invited to the raft. And the ocean is not just the ocean of lost hopes of 1816. This is a human goal.
Abstract
By 1814, France was heard from Napoleon, and the arrival of Bourbon was perceived with relief. However, many political freedoms were canceled, restoration began, and by the end of the 1820s the younger generation became aware of the ontological adoption of power.
"Eugene Delacroix belonged to the layer of the French elite, which rose under Napoleon and was pushed by Bourbon. Nevertheless, he was clouded: he received a gold medal for the first of his picture in the cabin, "Ladya Dante", in 1822. And in the 1824th spoke with the picture of the "Massanie on Chios", depicting ethnic cleansing, when the Greek population of Chios island during the Greek war for independence was deported and destroyed. This is the first swallow of political liberalism in painting, which concerned still very far countries. "
Ilya Dorontchenkov
In July 1830, Karl X issued several laws that seriously limit political freedoms, and sent troops into the printing house of the opposition newspaper. But Parisians responded with shooting, the city was covered with barricades, and for the "three glorious days" of the Rubon regime fell.
On the famous Picture of Delacroix, dedicated to the revolutionary events of 1830, various social layers are presented: Schiegol in the cylinder, a boy, a worker in a shirt. But the main, of course, is a young lovely woman with naked breasts and shoulder.
"The Delacroix turns out here what it is almost never happens at artists of the XIX century, more and more realistic thinking. He succeeds in one picture - very pathetic, very romantic, very tempering - to connect reality, physically tangible and brutal, (look at the corpses beloved by romantics in the foreground) and symbols. Because this full-blooded woman is, of course, the freedom itself. Political development starting from the XVIII century to the artists the need to visualize what cannot be seen. How can you see freedom? Christian values \u200b\u200bcome to a person through a very human - through the life of Christ and His suffering. And such political abstractions, as freedom, equality, fraternity, do not have the appearance. And the Delacroix, perhaps the first and no matter how the only one who, in general, has done successfully with this task: we now know how freedom looks like. "
Ilya Dorontchenkov
One of the political symbols in the picture is a Frigian cap on the head of the girl, a permanent heraldic symbol of democracy. Another talking motive is nudity.
"Nudget has long been associated with naturalness and with nature, and in the XVIII century this association was forced. The history of the French revolution even knows the unique performance, when the naked actress of the French theater portrayed the Nud in the Cathedral of the Parisian Theater. And nature is freedom, this is natural. And this is what, it turns out, this tangible, sensual, attractive woman denotes. It means natural liberty. "
Ilya Dorontchenkov
Although this picture glorified Delacroa, soon her was removed from his eyes for a long time, and it is clear why. The viewer standing in front of it turns out to be in the position of those who attack the freedom whom the revolution attacks. On the outstanding movement, which Somnet you, look very uncomfortable.
Abstract
On May 2, 1808, the anti-Napoleon rebellion broke out in Madrid, the city was in the hands of the protesters, but in the evening of the 3rd number in the vicinity of the Spanish capital, the massive shootings of the rebels were shilled. These events soon led to the partisan war that lasted six years. When it is over, the painter Francisco Goya will be ordered two pictures to perpetuate the uprising. The first is "uprising on May 2, 1808 in Madrid."
"Goya really depicts the moment of the beginning of the attack - that first hit by Navay, who started the war. It is this suggestion of the moment here is extremely important. He seems to be brought to the camera, from the panorama he moves to an extremely close plan, which was also not to such an extent before him. There is another exciting thing: the feeling of chaos and stabbing here is extremely important. There is no man who you regret. There are victims and there are killers. And these killers with blood plowed eyes, Spanish patriots, in general, are engaged in meat. "
Ilya Dorontchenkov
In the second picture, the characters vary in places: those who are cut in the first picture, on the second shot those who cut them. And the moral ambivalence of street fight is replaced by moral clarity: Goya on the side of those who rebelled and dies.
"Enemies are now divorced. Right those who will live. This is a series of people in uniforms with guns, are absolutely the same, even more identical than the brothers of Horace from David. They do not see people, and their cyverings make them similar to cars, on robots. These are not human figures. They are black silhouette stand out in a night darkness against the background of the lighting light bulleting light.
Left those who die. They move, society, gesticulate, and for some reason it seems that they are above their executioners. Although the main, central character - the Madrid man in orange pants and a white shirt - stands on his knees. He is still higher, he is a little bit on the hillock. "
Ilya Dorontchenkov
The dying notch stands in the posture of Christ, and for consuming Joyya is depicting stigmatics on his palms. In addition, the artist makes all the time experience a hard experience - look at last moment before execution. Finally, Goya changes the understanding of the historical event. Before him, the event was depicted with his ritual, rhetorical side, Goya event is a moment, passion, non-leaturated cry.
In the first picture, Diptych shows that the Spaniards cut out not the French: riders falling under the legs of a horse, dressed in Muslim costumes.
The fact is that in Napoleon's troops was a detachment of Mamelukov, Egyptian cavalrymen.
"It would seem strange that the artist turns into a symbol of the French occupation of Muslim fighters. But this allows Goya to turn the modern event in the history of the history of Spain. For any nation that grew up their self-consciousness during Napoleonic wars, it was extremely important to realize that this war is part of the eternal war for their values. And such a mythological war for the Spanish people was a reconquist, the restoration of the Pyrenean Peninsula in the Muslim kingdoms. Thus, Goya, preserving the loyalty of the documentary, modernity, puts this event in contact with the national myth, forcing the struggle of 1808 as the eternal struggle of the Spaniards for National and Christian. "
Ilya Dorontchenkov
The artist managed to create the iconographic formula of the execution. Every time his colleagues - whether Mane, Dix or Picasso, appealed to the topic of executions, they followed Goya.
Abstract
The picturesque revolution of the XIX century is even more tangible than in the event picture, occurred in the landscape.
"The landscape completely changes the optics. A person changes his scale, a person is experiencing himself in a different way in the world. Landscape is a realistic image of what is around us, with a feeling of saturated air moisture and everyday items in which we are shipped. Or he can be a projection of our experiences, and then in the overflows of the sunset or in a joyful sunny day we see the state of our soul. But there are striking landscapes that belong to both the other modus. And it is very difficult to understand, in fact, which one dominates. "
Ilya Dorontchenkov
This duality is brightly manifested by the German artist Caspar David Friedrich: his landscapes and tell us about the nature of the Baltic, and at the same time they are a philosophical statement. In the scenery of Friedrich there is a tomitious feeling of melancholy; The man rarely penetrates them further and usually turn back to the viewer.
At his last film "The ages of life" in the foreground shows a family: children, parents, an old man. And then, behind the spatial gap - a sunset sky, the sea and sailboats.
"If we look at how this cloth is built, we will see the striking roll call between the rhythm of human figures in the foreground and the rhythm of the sailboats in the sea. Here are high figures, here are low shapes, these are large sailboats, here's boats under sails. Nature and sailboats are what is called the music of spheres, it is eternal and independent of man. The foreground man is his ultimate being. The sea in Friedrich is very often a metaphor of inthius, death. But death for him, a believer man, is the promise of eternal life, which we do not know about. These people in the foreground are small, corrupt, not very attractive written - their rhythm repeat the rhythm of the sailboat, as a pianist repeats the music of spheres. This is our human music, but it is all rhymes with the very music that nature is filled for Friedrich. Therefore, it seems to me that in this canvas, Friedrich promises - not the afterlime paradise, but that our ultimate being is still in harmony with the universe. "
Ilya Dorontchenkov
Abstract
After the Great French Revolution, people realized that they had a past. The XIX century by the efforts of the romantic-aesthet and historians-positivist created a modern idea of \u200b\u200bhistory.
"The XIX century created the historical painting, which we know her. Not distracted Greek and Roman heroes acting in an ideal environment led by ideal motifs. The history of the XIX century becomes theatrical-melodramatic, it is approaching a person, and we are now able to empathize not great acts, but unhappiness and tragedies. Each European Nation has created a story in the XIX century, and, by designing history, she, in general, created his portrait and plans for the future. In this sense, European historical painting of the XIX century is terribly interesting to study, although in my opinion she did not leave, almost did not leave truly great works. And among these great works, I see one exception that we, the Russians, we can rightly be proud of. It is "Morning Streletsky execution" Vasily Surikov ".
Ilya Dorontchenkov
Historical painting of the XIX century, focused on external truthful, usually tells about one hero, which directs history or tolerate defeat. Picture of Surikova here is a bright exception. Her hero is a crowd in motley outfits, which occupies almost four fifth paintings; Because of this, it seems that the picture is amazingly unorganized. Behind the lively whistering crowd, some of which will soon die, it is a motley, who worries the blissful temple of Basil. For frozen Peter, Shangoy Soldier, Hango Hangs - Sherng Kremlin Wall Teeth. The picture bonds the duel of the views of Peter and the Redhead Sagittarius.
"We can very much about the conflict of society and states, people and the empires. But it seems to me that in this thing there are still some values \u200b\u200bthat make it unique. Vladimir Stasov, the promoter of creativity of the heads and the defender of Russian realism, who wrote a lot of excess about them, about Surikov said very well. He called pictures of this kind "choral". Indeed, there is no one hero in them - there is no single engine. The engine becomes the people. But in this picture the role of the people is very well noticeable. Joseph Brodsky in his Nobel lecture perfectly said that the real tragedy is not when the hero dies, but when the choir is dying. "
Ilya Dorontchenkov
Events occur in the paintings of Surikov as if in addition to the will of their characters - and in this the concept of the history of the artist, obviously, is close to Tolstovskaya.
"Society, people, a nation in this picture seems separated. Peter's soldiers in uniform, which seems black, and Sagittarius in white are opposed to good and evil. What connects these two unequal parts of the composition? This is a Sagittarius in a white shirt going on the execution, and soldiers in uniform, which supports him by the shoulder. If we mentally remove all that they surround them, we will never in life we \u200b\u200bcan assume that this person leads to the execution. These are two buddies who return home, and one supports another friendly and warmth. When Pouring Greeneva in the "Captain Daughter" was performed by Pugachevtsy, they said: "I did not feel," as if they really wanted to cheer. This is the feeling that the people separated by the will of the history at the same time Bratsk and one, is the striking quality of the Surikov canvas, which I also don't know anywhere else. "
Ilya Dorontchenkov
Abstract
In painting, the size matters, but not every plot can be depicted on a large canvase. Different picturesque traditions were portrayed by Sellian, but most often - not in the huge paintings, namely, the "funeral in Ornan" Gustava Kourba. Ornan - a prominent provincial town, where the artist himself comes from.
"Kourbe moved to Paris, but did not become part of the artistic establishment. He did not receive academic education, but he had a powerful hand, a very chain look and a huge ambition. He always felt the provincially, and it was best for him at home, in Ornan. But he lived almost all his life in Paris, fighting with the art that was already dying, fighting with art, which idealizes and speaks of the general, about the past, about the beautiful, not noticing. Such an art, which rather praises, which soon delays, as a rule, finds very large demand. Kursbe was, indeed, a revolutionary in painting, although now this revolutionaryness is not very clear to us, because he writes life, he writes prose. The main thing is that it was revolutionary - this is what he stopped idealizing his nature and began to write it exactly as he sees, or so, as he believed that he sees. "
Ilya Dorontchenkov
On a gigantic picture, about fifty people are depicted in full growth. All of them are real faces, and specialists identified almost all members of the funeral. Kursbe drew his countrymen, and they were pleased to get on the picture exactly what they are.
"But when this picture was exhibited in 1851 in Paris, she created a scandal. She walked against everything that the Parisian public was accustomed to this moment. Artists, she insulted the lack of a clear composition and coarse, dense pastoral painting, which conveys the materiality of things, but does not want to be beautiful. An ordinary person she scared the fact that he could not really understand who it was. A striking was the collapse of communications between the audience provincial France and Parisians. Parisians perceived the image of this respectable wealthy crowd as the image of the poor. One of the critics said: "Yes, it is a disgrace, but it is a disgrace of the province, and Paris has its disgrace." Under the disgrace actually understood the utmost truthfulness. "
Ilya Dorontchenkov
Kurba refused to idealize, which made it a genuine avant-garde of the XIX century. It is focused on French fan, and on a Dutch group portrait, and on antique solemnity. Kurba teaches to perceive modernity in her uniqueness, in her tragidity and in its beauty.
"French salons knew the images of severe peasant labor, poor peasants. But the modus of the image was generally accepted. The peasants needed to regret, the peasants needed to sympathize. It was a view somewhat from above. A person who sympathizes, by definition, is in priority position. And Kurba deprived his viewer the possibility of such a patronizing empathy. His characters are majestic, monumental, ignore their viewers, and they do not allow you to establish with them such a contact that makes them part of the usual world, they are very powerful breaking stereotypes. "
Ilya Dorontchenkov
Abstract
The XIX century did not love himself, preferring to seek beauty in something else, whether it was antiquity, Middle Ages or East. The first beauty of modernity learned to see Charles Bajler, and embodied her in painting artists whom Bodler was not destined to see: for example, Edgar Degas and Edward Man.
"Mane is a provocateur. Mana at the same time a brilliant painter whose charm of whose paints, paints, very paradoxically connected, causes the viewer not to ask himself obvious questions. If you look at his paintings, we are often forced to recognize that we do not understand what they led these people that they make each other, why these items are connected on the table. The easiest answer: mana primarily painter, mana primarily eye. It is interesting for him to connect colors and textures, and the logical conjugation of objects and people is the tenth business. Such pictures often put a viewer who is looking for a content that is looking for stories in a dead end. Mana stories does not tell. He could remain so strikingly accurate and refined optical apparatus, if he had not created his last masterpiece already in those years when they owned a deadly disease. "
Ilya Dorontchenkov
The painting "Bar in Foli-Berger" was exhibited in 1882, first the ridicule of critics first, and then quickly was recognized as masterpiece. Her theme is a cafe-concert, a bright phenomenon of Parisian life of the second half of the century. It seems that mana brightly and reliably captured the life of Foli-Berger.
"But when we begin to look closely to the fact that you have done Mane in your picture, we will understand that there is a huge number of inconsistencies that are subconsciously disturbing and, in general, not receiving permission. The girl we see the saleswoman, she must make visitors to stop, koking with her and order still drinking. Meanwhile, she does not flirt with us, but looks through us. On the table, there are four bottles of champagne in heat - but why not in ice? In the mirror reflection, these bottles are not on the edge of the table, on what stand in the foreground. The glass with roses is not seen under the angle, under what all the other items standing on the table were seen. And the girl in the mirror looks not exactly the way that the girl who looks at us: she is more slow, she has more rounded shapes, she leaned towards the visitor. In general, it behaves as it would have to lead to the on which we look. "
Ilya Dorontchenkov
Feminist criticism paid attention to the fact that the girl with his outlines resembles a bottle of champagne champagne on the counter. This is a slow observation, but hardly comprehensive: melancholy paintings, the psychological isolation of the heroine is opposed by rectilinear interpretation.
"These optical plot and psychological riddles of the picture seem to have an unequivocal response, make us approach her again and ask these questions every time, subconsciously impregnating the feeling of beautiful, sad, tragic, everyday modern life, which Baudelaire dreamed of and for forever Left to us mana. "
Ilya Dorontchenkov
from Impression / FR./ - Impression (1874-1886)
Direction in art originated in France. This name, the style that has had the most serious impact on the development of world art, thanks to the sarcastic label invented by Louis Louroy, who came up with a sarcastic label. Mockery of the truncated title of the picture of Claude Monet "Impression. Sunrise" (Impression. Soleil Levant) later turned into a positive definition: it clearly reflects the subjectivity of the vision, interest in a specific moment of constantly changing and unique reality. Artists, from the challenge, accepted this epithette, afterwards he had taken root, lost his original negative meaning and became active. Impressionists tried to convey their impressions of the world as accurately as possible. For this purpose, they refused to comply with existing painting rules and created their own method. Its essence came down to the transfer with the help of separate smears of clean paints, an external impression of light, shadow, on the surface of the items. Such a method created in the picture the impression of the dissolution of the form in the surrounding light-airspace. Claude Monet wrote about his work: "My merit is that I wrote directly from nature, trying to convey my impressions of the most non-permanent and volatile phenomena." The new course was distinguished from academic painting both in technical and ideological terms. First of all, the impressionists abandoned the contour, replacing it with small separate and contrasting strokes, which they imposed in accordance with the theories of the color of Chevreil, Helmholtz and Ore. The sunbeam is split into the components: purple, blue, blue, green, yellow, orange, red, but since blue is a kind of blue, then their number is reduced to six. Two paints laid nearby enhance each other and, on the contrary, when mixed, they lose the intensity. In addition, all colors are divided into primary, or basic and dual, or derivatives, with each twin paint is additional to the first: blue - orange red - green yellow - purple, thus it became possible not to mix paint on the palette and get The desired color by the correct imposition of them on canvas. This later became the reason for the abnormal.
Artists: Paul Cézanne, Edgar Dega (Edward Henri Paul Gauguin), Edward Mane (édouard manet), Claude Monet (Oscar-Claude Monet), Berthe Morizo \u200b\u200b(Berthe Morisot), Camille Pissaro ( Jacob Abraham Camille Pissarro), Pierre Auguste Renoir (Pierre-Auguste Renoir), Alfred Sisley.
Exhibitions: Everything was eight, the first one took place in 1874 in Paris, in the studio of the Nadar photographer, Kapuchin Boulevard, 35. Subsequent exhibitions, up to 1886, in various salons of Paris.
Texts: J.A. Kastanyari "Exhibition on Kapuchin Boulevard. Impressionists", 1874; E.Dyuranti "New Painting", 1876; Tyur "Artists-Impressionists", 1878.
Description of some works:
Pierre Auguste Renoir "Ball in Moulin de la Gaette", 1876. Canvas, oil. Paris, Museum d'Ors. The famous establishment of Montmartre "Moulin de La Gaette" was considered not far from Renoara housing. He went there to work on, and friends depicted in this picture, often helped him wear canvas. The composition is composed of a variety of figures, it creates a complete feeling of the crowd, captured by the joy of dance. The impression of the movement, which is full of picture, occurs due to a dynamic style of painting and light, freely falling glare on faces, costumes, hats and chairs. Like through the filter, he passes through the foliage of the trees, changes the chromatic gamut in the kaleidoscope of reflexes. It seems that the movement of the figures continues and enhance the shadows, everything together is connected in thin vibrations that transmit the feeling of music and dance.
Pierre Auguste Renoir "Ball in Moulin de la Gaette", 1876
Eduard mana "Bar in Foli Berger", 1881-1882. Canvas, oil. London, Gallery of the Kurto Institute. It is difficult to determine the definite genre of the last big picture Mana - "Bar in Foli-Berger" exhibited in the cabin in 1882. The picture is peculiar to the image of the life, and the portrait, and still life, which acquires a completely exceptional here, although not paramount importance here. All this is united in a scene of modern life, with extremely prose-scene motivation (which can be the chamber of the saleswomen for a bar of the bar?), Proved by the artist into the image of high artistic perfection. The mirror behind the bar stand, behind which there is a nameless heroine of the canvas, reflects a crowded hall, luminous chandelier, legs under the ceiling of the acrobatki, a marble board with bottles and the girl itself, to which Mr. in the cylinder is suitable. For the first time, the mirror forms the background of the whole picture. The space of the bar, reflected in the mirror behind the back of the saleswoman, expands to infinity, turns into a sparkling garland of lights and color glare. And the viewer facing the picture is involved in this second environment, gradually losing the feeling of the face between the real and reflected world. A straight look of the model violates the deceptive extension (L'Absorption) - the traditional reception of the record of the main character of the picture concentrated by their affairs and as if not a noticeing viewer. Here, on the contrary, mana uses direct sharing views and "explodes" the closedness of the image. The viewer is involved in an intense dialogue and is forced to explain what is reflected in the mirror: the relationship between the wax and mysterious character in the cylinder.
Award the long-awaited second reward for the portrait of the hunter on Lviv. Pertuise. After that, Mane becomes outside the contest and can exhibit its paintings, without any permission of the jury of the cabin.
Manna is decided to make something completely unusual for the art salon, at the beginning of 1882, where his paintings will appear with a special mark "V. TO".
Do you believe in astrology and predictions of the stars? Millions of people trust forecasts that make up various astrologers. Guru among such predictors is Pavel Globa. No one knows more about the stars of the stars than the globa.
To him, finally, the long-awaited glory comes, but his illness progresses millet inexorably and he knows about it and therefore, he is gnawing. Mana is trying to resist severe illness. Is it really not able to raise the disease?
Mana decides to collect all his strength and will, he is still trying to bury it early. It can be seen in the cafe "New Athens", in the cafe Bad, at Tortoni, in Foli-Berger and his friend. He tries all the time to joke and ironize, having fun about his "immense" and jokes about his leg. Mane decides to carry out its new idea: draw the scene from everyday Parisian life and depict the view of the famous bar Foli Berger, in which the charming girl is sunson, in front of numerous bottles. The girl knows many regular visitors of the bar.
Picture "Bar in Fouls Berger"This is a product of extraordinary courage and picturesque detullness: a blond girl stands behind a bar, behind her a large mirror, which reflects the big hall of the institution with the public sitting in it. She has an ornament on a black velvet on her neck, her gaze is cold, she is stadding still, she looks indifferently on others.
This complex plot of the canvas is moving away with great difficulty. The artist beats over him and repeats repeatedly. In early May 1882, Mane gives the picture and becomes happy contemplating it in the cabin. Over his paintings, no one laughs more, all of his paintings are considering with great seriousness, they begin to argue about the real works of art.
His last work "Bar in Foli-Berger" created as if she slipped with a life that was so valued, which was so admired and thought a lot. The work has absorbed all the fact that the artist was looking for so long and found in any inconspicuous life. The best images burst together to be embodied in this young girl, which stands in a noisy Parisian Kabash. In this institution, people are looking for joy contacting with themselves similar, here the seeming fun and laughter reigns here, a young and sensitive master opens the image of a young life, which is immersed in sadness and loneliness.
It is difficult to believe that this work was written by a dying artist to which any hand moved pain and suffering. But even before death, Edward Mana remains a real fighter. He had to go through a difficult life path before he discovered the true beauty that he was looking for his whole life and found it in ordinary people, finding in their soul the inner wealth to which he gave his heart.
Eduard Mana - Bar in Foli-Berger, 1882
UN BAR AUX FOLIES BERGèRE
Canvas, oil.
Original Size: 96 × 130 cm
Institute of Art Kurto, London
Description: "Bar in Foli-Berger" (Fr. UN BAR AUX FOLIES BERGèRE) - Painting Edward Man.
Foli-Berger - Variety and Cabaret in Paris. Located at Rishe Street 32. At the end of the XIX century, this institution was very popular. Mana often visited Foli-Berger and eventually wrote this picture - the last, which he presented at the Paris Salon in front of his death in 1883. Mana did the sketches to the picture right in the bar, which was on the first floor, variety on the right of the scene. Then he asked Bartisrhu SUson (Fr. Suzon) and his friend, Henri Dupre Military artist (Fr. Henri Dupray), pose in the workshop. Initially, the basis of the composition should be a bartialist and client who are passionate about the conversation. This is evidenced by not only the preserved sketches, but also X-ray pictures of the picture. Later, Mana decided to make a scene more meaningful. In the background, a mirror is seen, which reflects a huge number of people filling the room. Opposite this crowd, behind the rack it is absorbed by Bartamenta's own thoughts. Mana managed to convey the feeling of incredible loneliness in the middle of a drinking, eager, talking and smoking crowd, observing an acrobat on a trapezium, which can be seen in the upper left corner of the picture.
If you look at the bottles on the marble bar, it can be noted that their reflection in the mirror does not match the original. The reflection of the bartenders is also unreal. She looks straight on the viewer, while in the mirror she faces face to a man. All these inconsistencies make the viewer think about, the real or imaginary world depicted mana. The mirror, which reflects the figures depicted in the picture, relatives "Bar in Foli-Berger" with "Meninos" Velasquez and "Portrait of Arnolphin Fau" Wang Eyka.
Description of the painting of Edward Mana "Bar in Foli - Berger"
This artwork has gained great fame. It transmits everyday life flowing in the French metropolitan time bar of the XIX century. The artist and himself was here quite often, which made him take up the brush.
What explains the traction mana to idle pastime in this cabaret? The thing is that the Creator did not like tranquility, silence. He liked to have fun, communicate, conduct sincere conversations, meet with people. That is why he was so manually a rampant lifestyle of Paris Beer.
It seems that the artist started writing his picture directly within the institution. Initially, he was sitting near the scene, on the right side and indicated the sketch. Then she asked Barmenta to stand in front of him in his usual pose - behind the bar, but already in the creative workshop man.
After the death of the artist, the first works from this Cabaret were discovered. It turns out that the initial idea of \u200b\u200bthe picture was somewhat different. It should have been depicted by bartenders and a young man - the buddy man. They stood against each other and talked.
As a result, it turned out another: Barmetric stands in front of a crowd of customers who are visible in the mirror hanging behind it. She is thoughtful, scattered, does not listen to people, and dreams of their own. However, we immediately see her on the right, as if the girl would talk with a man who came to the bar. Is it or another bartender? This question remained unexplained.
Perhaps the fact that in the mirror is the fact that in the head of the employees of the cabarer. That is, the display of her thoughts, memories of just last. The viewer understands: the girl is alone, and there is still a life around it. Acrobatka, drunken faces, merry customers do not please the girl, she is all immersed in their sad dooms. But she can't leave here, because it is her job. Disharmonia Being.
Eduard Mana - Bar in Foli-Berge 1882
Bar in fouls
1882g 96x130cm canvas / oil
Courtauld Institute Of Art, London, UK
From the book of Reald John. "History of Impressionism"In the 1882 salon, Mane, now coming out of the competition, put a big picture of the "Barger Bar" bar, an impressive composition written with extraordinary virtuosity. He once again showed the power of his brush, the subtlety of observations and the courage not to follow the pattern. Like a degi, he continued to show a constant interest in the themes of modernity (he was even going to write a driver on a locomotive), but approached them not as a cold observer, but with the hot enthusiasm of the researcher of new phenomena of life. By the way, Dega did not like his last picture and called her "boring and sophisticated." "Bar in Foli-Berger" cost mana big effort, since he began severely suffering from ataxia. He was disappointed when the audience again refused to understand his picture, perceiving only the plot, and not the skill of execution.
In a letter to Alberta Wolf, he could not resist hesitant to hear, in the end, I wouldn't have anything to read anything, while still alive, the magnificent article you write after my death. "
After the closure of the salon, Mane was finally officially declared by Cavalier of the Honorary Legion. No matter how much his joy was, some bitterness was mixed. When the critic congratulated it to him, and also handed him the best wishes of the Count Ruverkerka, Mana answered sharply: "When you write a Ruverkerka Count, you can tell him that I appreciate his tender attention, but that he himself had the opportunity to give me this award. He could Make me happy, and now it's too late to compensate for twenty years of failure ... "