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Michelangelo

Жанр: foreign_language
Автор: Eugène Müntz
Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelo's painting. All the emotions, all the passions, all the thoughts of humanity were personified in his eyes in the naked bodies of men and women. He rarely conceived his human forms in attitudes of immobility or repose. Michelangelo became a painter so that he could express in a more malleable material what his titanesque soul felt, what his sculptor's imagination saw, but what sculpture refused him. Thus this admirable sculptor became the creator, at the Vatican, of the most lyrical and epic decoration ever seen: the Sistine Chapel. The profusion of his invention is spread over this vast area of over 900 square metres. There are 343 principal figures of prodigious variety of expression, many of colossal size, and in addition a great number of subsidiary ones introduced for decorative effect. The creator of this vast scheme was only thirty-four when he began his work. Michelangelo compels us to enlarge our conception of what is beautiful. To the Greeks it was physical perfection; but Michelangelo cared little for physical beauty, except in a few instances, such as his painting of Adam on the Sistine ceiling, and his sculptures of the Pietà. Though a master of anatomy and of the laws of composition, he dared to disregard both if it were necessary to express his concept: to exaggerate the muscles of his figures, and even put them in positions the human body could not naturally assume. In his later painting, The Last Judgment on the end wall of the Sistine, he poured out his soul like a torrent. Michelangelo was the first to make the human form express a variety of emotions. In his hands emotion became an instrument upon which he played, extracting themes and harmonies of infinite variety. His figures carry our imagination far beyond the personal meaning of the names attached to them.

Raphael

Жанр: foreign_language
Автор: Eugène Müntz
Raphael was the artist who most closely resembled Pheidias. The Greeks said that the latter invented nothing; rather, he carried every kind of art invented by his forerunners to such a pitch of perfection that he achieved pure and perfect harmony. Those words, “pure and perfect harmony,” express, in fact, better than any others what Raphael brought to Italian art. From Perugino, he gathered all the weak grace and gentility of the Umbrian School, he acquired strength and certainty in Florence, and he created a style based on the fusion of Leonardo's and Michelangelo's lessons under the light of his own noble spirit. His compositions on the traditional theme of the Virgin and Child seemed intensely novel to his contemporaries, and only their time-honoured glory prevents us now from perceiving their originality. He has an even more magnificent claim in the composition and realisation of those frescos with which, from 1509, he adorned the Stanze and the Loggia at the Vatican. The sublime, which Michelangelo attained by his ardour and passion, Raphael attained by the sovereign balance of intelligence and sensibility. One of his masterpieces, The School of Athens, was created by genius: the multiple detail, the portrait heads, the suppleness of gesture, the ease of composition, the life circulating everywhere within the light are his most admirable and identifiable traits.

Michelangelo

Жанр: foreign_language
Автор: Eugène Müntz
Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelo's painting. All the emotions, all the passions, all the thoughts of humanity were personified in his eyes in the naked bodies of men and women. He rarely conceived his human forms in attitudes of immobility or repose. Michelangelo became a painter so that he could express in a more malleable material what his titanesque soul felt, what his sculptor's imagination saw, but what sculpture refused him. Thus this admirable sculptor became the creator, at the Vatican, of the most lyrical and epic decoration ever seen: the Sistine Chapel. The profusion of his invention is spread over this vast area of over 900 square metres. There are 343 principal figures of prodigious variety of expression, many of colossal size, and in addition a great number of subsidiary ones introduced for decorative effect. The creator of this vast scheme was only thirty-four when he began his work. Michelangelo compels us to enlarge our conception of what is beautiful. To the Greeks it was physical perfection; but Michelangelo cared little for physical beauty, except in a few instances, such as his painting of Adam on the Sistine ceiling, and his sculptures of the Pietà. Though a master of anatomy and of the laws of composition, he dared to disregard both if it were necessary to express his concept: to exaggerate the muscles of his figures, and even put them in positions the human body could not naturally assume. In his later painting, The Last Judgment on the end wall of the Sistine, he poured out his soul like a torrent. Michelangelo was the first to make the human form express a variety of emotions. In his hands emotion became an instrument upon which he played, extracting themes and harmonies of infinite variety. His figures carry our imagination far beyond the personal meaning of the names attached to them.

Michelangelo

Жанр: foreign_language
Автор: Eugène Müntz
Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelo's painting. All the emotions, all the passions, all the thoughts of humanity were personified in his eyes in the naked bodies of men and women. He rarely conceived his human forms in attitudes of immobility or repose. Michelangelo became a painter so that he could express in a more malleable material what his titanesque soul felt, what his sculptor's imagination saw, but what sculpture refused him. Thus this admirable sculptor became the creator, at the Vatican, of the most lyrical and epic decoration ever seen: the Sistine Chapel. The profusion of his invention is spread over this vast area of over 900 square metres. There are 343 principal figures of prodigious variety of expression, many of colossal size, and in addition a great number of subsidiary ones introduced for decorative effect. The creator of this vast scheme was only thirty-four when he began his work. Michelangelo compels us to enlarge our conception of what is beautiful. To the Greeks it was physical perfection; but Michelangelo cared little for physical beauty, except in a few instances, such as his painting of Adam on the Sistine ceiling, and his sculptures of the Pietà. Though a master of anatomy and of the laws of composition, he dared to disregard both if it were necessary to express his concept: to exaggerate the muscles of his figures, and even put them in positions the human body could not naturally assume. In his later painting, The Last Judgment on the end wall of the Sistine, he poured out his soul like a torrent. Michelangelo was the first to make the human form express a variety of emotions. In his hands emotion became an instrument upon which he played, extracting themes and harmonies of infinite variety. His figures carry our imagination far beyond the personal meaning of the names attached to them.

Leonardo da Vinci

Жанр: architecture_book
Автор: Eugene Muntz
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Leonardo da Vinci

Жанр: architecture_book
Автор: Eugene Muntz
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Leonard de Vinci

Жанр: architecture_book
Автор: Eugene Muntz
Léonard de Vinci (Vinci, 1452 – Le Clos-Lucé, 1519)Léonard passa la première partie de sa vie à Florence, la seconde à Milan et ses trois dernières années en France. Le professeur de Léonard fut Verrocchio, d

Leonard de Vinci

Жанр: architecture_book
Автор: Eugene Muntz
Léonard de Vinci (Vinci, 1452 – Le Clos-Lucé, 1519)Léonard passa la première partie de sa vie à Florence, la seconde à Milan et ses trois dernières années en France. Le professeur de Léonard fut Verrocchio, d

Michel-Ange

Жанр: visual_arts
Автор: Eugene Muntz
Michel-Ange nous oblige à élargir notre conception du beau. Pour les Grecs, le critère était la beauté physique, mais Michel-Ange, sauf dans quelques exceptions, comme sa peinture d

Michelangelo

Жанр: foreign_contemporary
Автор: Eugene Muntz
Michelangelo war, genau wie Leonardo, ein

Michel-Ange

Жанр: foreign_contemporary
Автор: Eugene Muntz
Michel-Ange (Michelangelo Buonarroti) (Caprese, 1475 - Rome, 1564)Michel-Ange, comme Lonard de Vinci, avait plusieurs cordes son arc et tait la fois sculpteur, architecte, peintre et pote. Il porta leur apothose le mouvement musculaire et l'effort, quivalents plastiques de la passion, ses yeux. Il faonna son dessin, le poussant jusqu'aux limites extrmes des possibilits de son me tourmente. Il n'y a aucun paysage dans la peinture de Michel-Ange. Toutes les motions, toutes les passions, toutes les penses de l'humanit furent personnifies dans les corps nus des hommes et des femmes. Il ne les conut presque jamais dans l'immobilit ou le repos.Michel-Ange devint peintre pour exprimer travers un matriau plus mallable ce qui animait sa nature titanesque, ce que son imagination de sculpteur voyait, mais que la sculpture lui refusait. Ainsi cet admirable sculpteur devint le rateur des dcorations les plus lyriques et les plus piques jamais vues dans l'histoire de la peinture : les fresques de la chapelle Sixtine au Vatican. La profusion des inventions dissmines sur cette vaste surface est merveilleuse. Ce sont en tout 343 personnages principaux qui sont reprsents avec une varit d'expressions prodigieuse, plusieurs de taille colossale, ct de figures plus secondaires introduites pour leur effet dcoratif. Le crateur de ce vaste plan n'avait que trente-quatre ans lorsqu'il s'attela au projet.Michel-Ange nous oblige largir notre conception du beau. Pour les Grecs, le critre tait la beaut physique, mais Michel-Ange, sauf dans quelques exceptions, comme sa peinture d'Adam sur le plafond de la chapelle Sixtine, et ses sculptures de la Piet, ne prtait que peu d'attention la beaut. Bien que matrisant parfaitement l'anatomie et les lois de la composition, il osait les ignorer toutes deux, si ncessaire, afin de suivre son ide : exagrer les muscles de ses personnages, et mme les placer dans des positions inappropries au corps humain. Dans son ultime fresque, celle du Jugement dernier sur le mur de l'autel de la chapelle, il laissa se dverser le torrent de son me. Qu'taient les rgles en comparaison d'une souffrance intrieure qui devait s'pancher ? C'est juste titre que les Italiens de son temps parlaient de la terribilit de son style. Michel-Ange fut le premier donner la forme humaine la possibilit d'exprimer toute une varit d'motions psychiques. Dans ses mains, elle devint un instrument duquel il jouait, comme un musicien sur son orgue, en tirant des thmes et des harmonies d'une diversit infinie. Ses personnages transportent notre imagination bien au-del de la signification personnelle des noms qui leur sont attachs.

Michelangelo

Жанр: foreign_contemporary
Автор: Eugene Muntz
Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelo's painting. All the emotions, all the passions, all the thoughts of humanity were personified in his eyes in the naked bodies of men and women. He rarely conceived his human forms in attitudes of immobility or repose. Michelangelo became a painter so that he could express in a more malleable material what his titanesque soul felt, what his sculptor's imagination saw, but what sculpture refused him. Thus this admirable sculptor became the creator, at the Vatican, of the most lyrical and epic decoration ever seen: the Sistine Chapel. The profusion of his invention is spread over this vast area of over 900 square metres. There are 343 principal figures of prodigious variety of expression, many of colossal size, and in addition a great number of subsidiary ones introduced for decorative effect. The creator of this vast scheme was only thirty-four when he began his work. Michelangelo compels us to enlarge our conception of what is beautiful. To the Greeks it was physical perfection; but Michelangelo cared little for physical beauty, except in a few instances, such as his painting of Adam on the Sistine ceiling, and his sculptures of the Pieta. Though a master of anatomy and of the laws of composition, he dared to disregard both if it were necessary to express his concept: to exaggerate the muscles of his figures, and even put them in positions the human body could not naturally assume. In his later painting, The Last Judgment on the end wall of the Sistine, he poured out his soul like a torrent. Michelangelo was the first to make the human form express a variety of emotions. In his hands emotion became an instrument upon which he played, extracting themes and harmonies of infinite variety. His figures carry our imagination far beyond the personal meaning of the names attached to them.

Miguel Angel

Жанр: thriller
Автор: Eugene Muntz
Miguel Angel, como Leonardo, fue una persona con muchos talentos: escultor, arquitecto, pintor y poeta. Alcanzo la cima de la representacion del movimiento muscular, que el entendia como la manifestacion de la pasion. Modelo, doblo, retorcio y estiro sus dibujos hasta el limite de sus posibilidades. En las obras de Miguel Angel no hay nunca paisajes, todas las emociones, las pasiones, la humanidad de sus obras se personifican, a su modo de ver, en los cuerpos desnudos de hombres y mujeres; rara vez concibio la forma humana en actitud de inmovilidad o reposo. Miguel Angel se hizo pintor para poder expresar, a traves de un medio mas maleable, aquello que su alma titanica sentia, aquello que su imaginacion de escultor veia, pero que la escultura le negaba. De esta manera, este admirable escultor se convirtio en el autor, en el Vaticano, de la decoracion mas epica y lirica jamas concebida: la Capilla Sixtina. Su abundante inventiva se extiende sobre una impresionante area de 900 metros cuadrados. Hay 334 figuras principales con una variedad de expresion prodigiosa, muchas de un tamano colosal, ademas de otras tantas secundarias que incluyo solo a efectos de decoracion. El creador de este vasto esquema tenia solo 34 anos cuando comenzo su trabajo. En su obra, Miguel Angel nos obliga a ampliar nuestra concepcion de la belleza. Lo que los griegos situaban en la perfeccion fisica para el era irrelevante. Le importaba poco la belleza fisica, excepto en alguna ocasion, como por ejemplo en su representacion de Adan en el techo de la Capilla Sixtina o sus esculturas de la Pieta. Aunque era un maestro de la anatomia y de las leyes de la composicion, osaba ignorarlas si lo consideraba necesario para expresar su concepcion, y exageraba la musculatura de sus figuras o las hacia adoptar posiciones antinaturales. En una de sus ultimas obras, El juicio final de la pared del fondo de la Capilla Sixtina, desahogo su alma e hizo brotar sus emociones a raudales. Miguel Angel fue el primero en conseguir que la forma humana expresara una multitud de sentimientos, la emocion se convirtio en sus manos en un instrumento del que extraia notas y armonias de una variedad infinita. Sus figuras desplazan nuestra imaginacion mas alla del significado que le otorgan los nombres propios.

Rafael

Жанр: thriller
Автор: Eugene Muntz
Rafael fue el artista mas parecido al gran escultor Pheidias. Los griegos decian que este ultimo no habia inventado nada, pero fue capaz de llevar cada tipo de arte inventado por sus predecesores a tal cuspide, que logro alcanzar la armonia pura y perfecta. Estas palabras,

Leonard da Vinci

Жанр: thriller
Автор: Eugene Muntz
Leonardo paso los primeros anos de su vida en Florencia, su madurez en Milan y los ultimos tres anos de su existencia en Francia. El maestro de Leonardo fue Verrocchio. Primero fue orfebre, luego pintor y escultor: como pintor, fue representante de la escuela cientifica del dibujo; mas famoso como escultor con la estatua Colleoni en Venecia, Leonardo fue ademas un hombre de gran atractivo fisico, encantador en sus modales y conversacion y poseedor un intelecto superior. Era versado en las ciencias y las matematicas de su epoca, ademas de ser un musico de grandes dotes. Su habilidad como dibujante era extraordinaria y puede verse en sus numerosos dibujos, asi como en sus comparativamente escasas pinturas. Su habilidad manual estuvo al servicio de la mas minuciosa observacion e investigacion analitica del caracter y la estructura de las formas. Leonardo fue el primero de los grandes hombres que tuvieron el deseo de captar en una pintura un cierto tipo de comunion mistica creada por la fusion de la materia y el espiritu. Ya terminados los experimentos de los Primitivos, realizados de forma incesante durante dos siglos, y con el dominio de los metodos de pintura, fue capaz de pronunciar las palabras que sirvieron de contrasena a todos artistas posteriores dignos de tal nombre: la pintura es una cuestion espiritual, cosa mentale. Completo el dibujo florentino con el modelado por luz y sombras, un sutil recurso que sus predecesores solo habian usado para dar una mayor precision a sus contornos. Uso ese maravilloso talento en el dibujo, asi como su manera de modelar la figura y el claroscuro, no solo para pintar la apariencia exterior del cuerpo, sino para hacer algo que nunca se habia logrado con tal maestria: plasmar en sus obras un reflejo del misterio de la vida interior. En la Mona Lisa y sus otras obras maestras llego a utilizar el paisaje como algo mas que una mera decoracion pintoresca, convirtiendolo en una especie de eco de esa vida interior y en un elemento de la armonia perfecta. A traves de las todavia muy recientes leyes de la perspectiva, este docto erudito, que ademas fue un iniciador del pensamiento moderno, substituyo la manera discursiva de los Primitivos por el principio de concentracion, que es la base del arte clasico. La pintura ya no se presenta al espectador como un conjunto casi fortuito de detalles y episodios. Se convierte en un organismo en el que todos los elementos, las lineas y colores, las sombras y la luz componen una trama sutil que converge en un centro a la vez sensual y espiritual. La preocupacion de Leonardo no era la importancia externa de los objetos, sino su trascendencia interna y espiritual.

Raphael

Жанр: foreign_home
Автор: Eugene Muntz
Raphael was the artist who most closely resembled Pheidias. The Greeks said that the latter invented nothing; rather, he carried every kind of art invented by his forerunners to such a pitch of perfection that he achieved pure and perfect harmony. Those words,

Michelangelo

Жанр: foreign_home
Автор: Eugene Muntz
Michelangelo war, genau wie Leonardo, ein

Michelangelo

Жанр: foreign_home
Автор: Eugene Muntz
Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelo's painting. All the emotions, all the passions, all the thoughts of humanity were personified in his eyes in the naked bodies of men and women. He rarely conceived his human forms in attitudes of immobility or repose. Michelangelo became a painter so that he could express in a more malleable material what his titanesque soul felt, what his sculptor's imagination saw, but what sculpture refused him. Thus this admirable sculptor became the creator, at the Vatican, of the most lyrical and epic decoration ever seen: the Sistine Chapel. The profusion of his invention is spread over this vast area of over 900 square metres. There are 343 principal figures of prodigious variety of expression, many of colossal size, and in addition a great number of subsidiary ones introduced for decorative effect. The creator of this vast scheme was only thirty-four when he began his work. Michelangelo compels us to enlarge our conception of what is beautiful. To the Greeks it was physical perfection; but Michelangelo cared little for physical beauty, except in a few instances, such as his painting of Adam on the Sistine ceiling, and his sculptures of the Pieta. Though a master of anatomy and of the laws of composition, he dared to disregard both if it were necessary to express his concept: to exaggerate the muscles of his figures, and even put them in positions the human body could not naturally assume. In his later painting, The Last Judgment on the end wall of the Sistine, he poured out his soul like a torrent. Michelangelo was the first to make the human form express a variety of emotions. In his hands emotion became an instrument upon which he played, extracting themes and harmonies of infinite variety. His figures carry our imagination far beyond the personal meaning of the names attached to them.

Raffael

Жанр: foreign_home
Автор: Eugene Muntz
Raffael (1483-1520), ein Zeitgenosse Leonardo da Vincis und Michelangelos und gleichzeitig der jungste dieser drei Titanen

Michelangelo

Жанр: visual_arts
Автор: Eugene Muntz
Miguel Ángel, al igual que Leonardo, fue un hombre de muchos talentos: escultor, arquitecto, pintor y poeta; logró expresar la apoteosis del movimiento muscular, que para él era la manifestación física de la pasión. Llevó el arte del dibujo a los límites extremos de sus posibilidades, estirándolo, moldeándolo y hasta retorciéndolo. En las pinturas de Miguel Ángel no hay paisajes de ningún tipo. Todas las emociones, todas las pasiones, todos los pensamientos de la humanidad están personificados, para él, en los cuerpos desnudos de hombres y mujeres. Rara vez concibió formas humanas en poses de inmovilidad o reposo. Miguel Ángel se convirtió en pintor para poder expresar en un medio más maleable lo que su alma de titán sentía, lo que su imaginación de escultor veía, pero que la escultura le negaba. Así, este admirable escultor se convirtió en el creador de la decoración más lírica y épica jamás contemplada: la Capilla Sixtina en el Vaticano. La vastedad de su ingenio está plasmada sobre esta vasta superficie de más de 900 metros cuadrados. Cuenta con 343 figuras principales con una prodigiosa variedad de expresiones, muchas de ellas en tamaño colosal, y además un gran número de personajes secundarios que se introdujeron como efecto decorativo. El creador de este gigantesco diseño tenía sólo treinta y cuatro años cuando comenzó su trabajo. Miguel Ángel nos obliga a ampliar nuestro concepto de lo que es la belleza. Para los griegos se trataba de la perfección física, pero a Miguel Ángel poco le importaba la belleza física, salvo en ciertas ocasiones, como en el caso de su pintura de Adán en la capilla Sixtina y de sus esculturas de la Pietà. Aunque era maestro en anatomía y en las leyes de la composición, se atrevió a hacer caso omiso de ambas cuando le era necesario para expresar sus ideas: exageraba los músculos en sus figuras y hasta las colocaba en posiciones que el cuerpo humano no puede asumir naturalmente. En una de sus últimas pintura, El juicio final en el muro del fondo de la Capilla Sixtina, dejó fluir su alma como en un torrente. Miguel Ángel fue el primero en hacer que la figura humana expresara una amplia variedad de emociones. En sus manos, la emoción se convertía en un instrumento que podía tocar para extraer temas y armonías de infinita diversidad. Sus figuras llevan nuestra imaginación mucho más allá del significado personal de los nombres que poseen.

Rafael

Жанр: visual_arts
Автор: Eugene Muntz
Rafael fue el artista más parecido al gran escultor Pheidias. Los griegos decían que este último no había inventado nada, pero fue capaz de llevar cada tipo de arte inventado por sus predecesores a tal cúspide, que logró alcanzar la armonía pura y perfecta. Estas palabras, “armonía pura y perfecta”, expresan, de hecho, mejor que cualquier otra, lo que Rafael llevó al arte italiano. De Perugino tomó toda la delicada gracia y sutileza de la escuela de Umbria, adquirió la fuerza y la certidumbre en Florencia, y creó un estilo basado en la fusión de las lecciones de Leonardo y de Miguel Ángel a la luz de su propio espíritu noble. Sus composiciones sobre el tema tradicional de la Virgen y el Niño les parecieron a sus contemporáneos intensamente novedosas, y sólo su gloria consagrada evita que percibamos en la actualidad su carácter original. Logró un trabajo aún más sorprendente en la composición y la realización de los frescos con los que, desde 1509, adornó las Stanze y la Loggia en el Vaticano. La cualidad de lo sublime, que Miguel Ángel alcanzó a través de su fervor y su pasión, Rafael la logró mediante un dominio del equilibrio entre la inteligencia y la sensibilidad. Una de sus obras maestras, La escuela de Atenas, fue decididamente hija de su genio: los diversos detalles, las cabezas, la suavidad del gesto, la facilidad de la composición, la vida que circula por todas las partes iluminadas son sus rasgos más característicos y admirables.

Miguel Ángel

Жанр: visual_arts
Автор: Eugene Muntz
Miguel Ángel, al igual que Leonardo, fue un hombre de muchos talentos: escultor, arquitecto, pintor y poeta; logró expresar la apoteosis del movimiento muscular, que para él era la manifestación física de la pasión. Llevó el arte del dibujo a los límites extremos de sus posibilidades, estirándolo, moldeándolo y hasta retorciéndolo. En las pinturas de Miguel Ángel no hay paisajes de ningún tipo. Todas las emociones, todas las pasiones, todos los pensamientos de la humanidad están personificados, para él, en los cuerpos desnudos de hombres y mujeres. Rara vez concibió formas humanas en poses de inmovilidad o reposo. Miguel Ángel se convirtió en pintor para poder expresar en un medio más maleable lo que su alma de titán sentía, lo que su imaginación de escultor veía, pero que la escultura le negaba. Así, este admirable escultor se convirtió en el creador de la decoración más lírica y épica jamás contemplada: la Capilla Sixtina en el Vaticano. La vastedad de su ingenio está plasmada sobre esta vasta superficie de más de 900 metros cuadrados. Cuenta con 343 figuras principales con una prodigiosa variedad de expresiones, muchas de ellas en tamaño colosal, y además un gran número de personajes secundarios que se introdujeron como efecto decorativo. El creador de este gigantesco diseño tenía sólo treinta y cuatro años cuando comenzó su trabajo. Miguel Ángel nos obliga a ampliar nuestro concepto de lo que es la belleza. Para los griegos se trataba de la perfección física, pero a Miguel Ángel poco le importaba la belleza física, salvo en ciertas ocasiones, como en el caso de su pintura de Adán en la capilla Sixtina y de sus esculturas de la Pietà. Aunque era maestro en anatomía y en las leyes de la composición, se atrevió a hacer caso omiso de ambas cuando le era necesario para expresar sus ideas: exageraba los músculos en sus figuras y hasta las colocaba en posiciones que el cuerpo humano no puede asumir naturalmente. En una de sus últimas pintura, El juicio final en el muro del fondo de la Capilla Sixtina, dejó fluir su alma como en un torrente. Miguel Ángel fue el primero en hacer que la figura humana expresara una amplia variedad de emociones. En sus manos, la emoción se convertía en un instrumento que podía tocar para extraer temas y armonías de infinita diversidad. Sus figuras llevan nuestra imaginación mucho más allá del significado personal de los nombres que poseen.

Leonardo da Vinci

Жанр: visual_arts
Автор: Eugene Muntz
Leonardo pasó los primeros años de su vida en Florencia, su madurez en Milán y los últimos tres años de su existencia en Francia. El maestro de Leonardo fue Verrocchio. Primero fue orfebre, luego pintor y escultor: como pintor, fue representante de la escuela científica del dibujo; más famoso como escultor con la estatua Colleoni en Venecia, Leonardo fue además un hombre de gran atractivo físico, encantador en sus modales y conversación y poseedor un intelecto superior. Era versado en las ciencias y las matemáticas de su época, además de ser un músico de grandes dotes. Su habilidad como dibujante era extraordinaria y puede verse en sus numerosos dibujos, así como en sus comparativamente escasas pinturas. Su habilidad manual estuvo al servicio de la más minuciosa observación e investigación analítica del carácter y la estructura de las formas. Leonardo fue el primero de los grandes hombres que tuvieron el deseo de captar en una pintura un cierto tipo de comunión mística creada por la fusión de la materia y el espíritu. Ya terminados los experimentos de los Primitivos, realizados de forma incesante durante dos siglos, y con el dominio de los métodos de pintura, fue capaz de pronunciar las palabras que sirvieron de contraseña a todos artistas posteriores dignos de tal nombre: la pintura es una cuestión espiritual, cosa mentale. Completó el dibujo florentino con el modelado por luz y sombras, un sutil recurso que sus predecesores sólo habían usado para dar una mayor precisión a sus contornos. Usó ese maravilloso talento en el dibujo, así como su manera de modelar la figura y el claroscuro, no sólo para pintar la apariencia exterior del cuerpo, sino para hacer algo que nunca se había logrado con tal maestría: plasmar en sus obras un reflejo del misterio de la vida interior. En la Mona Lisa y sus otras obras maestras llegó a utilizar el paisaje como algo más que una mera decoración pintoresca, convirtiéndolo en una especie de eco de esa vida interior y en un elemento de la armonía perfecta. A través de las todavía muy recientes leyes de la perspectiva, este docto erudito, que además fue un iniciador del pensamiento moderno, substituyó la manera discursiva de los Primitivos por el principio de concentración, que es la base del arte clásico. La pintura ya no se presenta al espectador como un conjunto casi fortuito de detalles y episodios. Se convierte en un organismo en el que todos los elementos, las líneas y colores, las sombras y la luz componen una trama sutil que converge en un centro a la vez sensual y espiritual. La preocupación de Leonardo no era la importancia externa de los objetos, sino su trascendencia interna y espiritual.

Michelangelo

Жанр: visual_arts
Автор: Eugene Muntz
In seinem letzten Gemälde, dem Jüngsten Gericht an der Wand der Sixtinischen Kapelle, ließ er seinen eigenen Qualen freien Lauf. Was bedeuteten künstlerische Gesetze und Konventionen im Vergleich zu dem Schmerz, der in seinem Inneren tobte und ein Ventil brauchte? Kein Wunder, dass seine Zeitgenossen den Ausdruck terribilità auf seinen Stil anwandten. Seine Figuren entführen uns in Gefilde der Phantasie, die weit über das hinausgehen, was wir normalerweise mit ihrem Namen verbinden.

Michelangelo

Жанр: visual_arts
Автор: Eugene Muntz
In seinem letzten Gemälde, dem Jüngsten Gericht an der Wand der Sixtinischen Kapelle, ließ er seinen eigenen Qualen freien Lauf. Was bedeuteten künstlerische Gesetze und Konventionen im Vergleich zu dem Schmerz, der in seinem Inneren tobte und ein Ventil brauchte? Kein Wunder, dass seine Zeitgenossen den Ausdruck terribilità auf seinen Stil anwandten. Seine Figuren entführen uns in Gefilde der Phantasie, die weit über das hinausgehen, was wir normalerweise mit ihrem Namen verbinden.

Raffael

Жанр: visual_arts
Автор: Eugene Muntz
Dieses Buch legt dar, warum Raffaels Leben und Schaffen auch heute noch relevant für den modernen Kunstbegriff ist und deckt mit Hilfe zahlreicher hochwertiger Abbildungen die versteckte Komplexität hinter seinen scheinbar einfachen Bildern auf.

Michelangelo

Жанр: visual_arts
Автор: Eugene Muntz
In seinem letzten Gemälde, dem Jüngsten Gericht an der Wand der Sixtinischen Kapelle, ließ er seinen eigenen Qualen freien Lauf. Was bedeuteten künstlerische Gesetze und Konventionen im Vergleich zu dem Schmerz, der in seinem Inneren tobte und ein Ventil brauchte? Kein Wunder, dass seine Zeitgenossen den Ausdruck terribilità auf seinen Stil anwandten. Seine Figuren entführen uns in Gefilde der Phantasie, die weit über das hinausgehen, was wir normalerweise mit ihrem Namen verbinden.

Michelangelo

Жанр: visual_arts
Автор: Eugene Muntz
In seinem letzten Gemälde, dem Jüngsten Gericht an der Wand der Sixtinischen Kapelle, ließ er seinen eigenen Qualen freien Lauf. Was bedeuteten künstlerische Gesetze und Konventionen im Vergleich zu dem Schmerz, der in seinem Inneren tobte und ein Ventil brauchte? Kein Wunder, dass seine Zeitgenossen den Ausdruck terribilità auf seinen Stil anwandten. Seine Figuren entführen uns in Gefilde der Phantasie, die weit über das hinausgehen, was wir normalerweise mit ihrem Namen verbinden.

Michel-Ange

Жанр: visual_arts
Автор: Eugene Muntz
Michel-Ange nous oblige à élargir notre conception du beau. Pour les Grecs, le critère était la beauté physique, mais Michel-Ange, sauf dans quelques exceptions, comme sa peinture d

Raphaël

Жанр: visual_arts
Автор: Eugene Muntz
Raphaël est l

Michel-Ange

Жанр: visual_arts
Автор: Eugene Muntz
Michel-Ange nous oblige à élargir notre conception du beau. Pour les Grecs, le critère était la beauté physique, mais Michel-Ange, sauf dans quelques exceptions, comme sa peinture d

Michel-Ange

Жанр: visual_arts
Автор: Eugene Muntz
Michel-Ange nous oblige à élargir notre conception du beau. Pour les Grecs, le critère était la beauté physique, mais Michel-Ange, sauf dans quelques exceptions, comme sa peinture d

Leonardo da Vinci. Volume 2

Жанр: visual_arts
Автор: Eugene Muntz
Leonardo’s early life was spent in Florence, his maturity in Milan, and the last three years of his life in France. Leonardo’s teacher was Verrocchio. First he was a goldsmith, then a painter and sculptor: as a painter, representative of the very scientific school of draughtsmanship; more famous as a sculptor, being the creator of the Colleoni statue at Venice, Leonardo was a man of striking physical attractiveness, great charm of manner and conversation, and mental accomplishment. He was well grounded in the sciences and mathematics of the day, as well as a gifted musician. His skill in draughtsmanship was extraordinary; shown by his numerous drawings as well as by his comparatively few paintings. His skill of hand is at the service of most minute observation and analytical research into the character and structure of form. Leonardo is the first in date of the great men who had the desire to create in a picture a kind of mystic unity brought about by the fusion of matter and spirit. Now that the Primitives had concluded their experiments, ceaselessly pursued during two centuries, by the conquest of the methods of painting, he was able to pronounce the words which served as a password to all later artists worthy of the name: painting is a spiritual thing, cosa mentale. He completed Florentine draughtsmanship in applying to modelling by light and shade, a sharp subtlety which his predecessors had used only to give greater precision to their contours. This marvellous draughtsmanship, this modelling and chiaroscuro he used not solely to paint the exterior appearance of the body but, as no one before him had done, to cast over it a reflection of the mystery of the inner life. In the Mona Lisa and his other masterpieces he even used landscape not merely as a more or less picturesque decoration, but as a sort of echo of that interior life and an element of a perfect harmony. Relying on the still quite novel laws of perspective this doctor of scholastic wisdom, who was at the same time an initiator of modern thought, substituted for the discursive manner of the Primitives the principle of concentration which is the basis of classical art. The picture is no longer presented to us as an almost fortuitous aggregate of details and episodes. It is an organism in which all the elements, lines and colours, shadows and lights, compose a subtle tracery converging on a spiritual, a sensuous centre. It was not with the external significance of objects, but with their inward and spiritual significance, that Leonardo was occupied.

Michelangelo

Жанр: visual_arts
Автор: Eugene Muntz
Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelo

Leonardo da Vinci. Volume 1

Жанр: visual_arts
Автор: Eugene Muntz
Leonardo’s early life was spent in Florence, his maturity in Milan, and the last three years of his life in France. Leonardo’s teacher was Verrocchio. First he was a goldsmith, then a painter and sculptor: as a painter, representative of the very scientific school of draughtsmanship; more famous as a sculptor, being the creator of the Colleoni statue at Venice, Leonardo was a man of striking physical attractiveness, great charm of manner and conversation, and mental accomplishment. He was well grounded in the sciences and mathematics of the day, as well as a gifted musician. His skill in draughtsmanship was extraordinary; shown by his numerous drawings as well as by his comparatively few paintings. His skill of hand is at the service of most minute observation and analytical research into the character and structure of form. Leonardo is the first in date of the great men who had the desire to create in a picture a kind of mystic unity brought about by the fusion of matter and spirit. Now that the Primitives had concluded their experiments, ceaselessly pursued during two centuries, by the conquest of the methods of painting, he was able to pronounce the words which served as a password to all later artists worthy of the name: painting is a spiritual thing, cosa mentale. He completed Florentine draughtsmanship in applying to modelling by light and shade, a sharp subtlety which his predecessors had used only to give greater precision to their contours. This marvellous draughtsmanship, this modelling and chiaroscuro he used not solely to paint the exterior appearance of the body but, as no one before him had done, to cast over it a reflection of the mystery of the inner life. In the Mona Lisa and his other masterpieces he even used landscape not merely as a more or less picturesque decoration, but as a sort of echo of that interior life and an element of a perfect harmony. Relying on the still quite novel laws of perspective this doctor of scholastic wisdom, who was at the same time an initiator of modern thought, substituted for the discursive manner of the Primitives the principle of concentration which is the basis of classical art. The picture is no longer presented to us as an almost fortuitous aggregate of details and episodes. It is an organism in which all the elements, lines and colours, shadows and lights, compose a subtle tracery converging on a spiritual, a sensuous centre. It was not with the external significance of objects, but with their inward and spiritual significance, that Leonardo was occupied.

Michelangelo

Жанр: visual_arts
Автор: Eugene Muntz
Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelo

Michelangelo

Жанр: visual_arts
Автор: Eugene Muntz
Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelo

Leonardo da Vinci

Жанр: visual_arts
Автор: Eugene Muntz
Leonardo’s early life was spent in Florence, his maturity in Milan, and the last three years of his life in France. Leonardo’s teacher was Verrocchio. First he was a goldsmith, then a painter and sculptor: as a painter, representative of the very scientific school of draughtsmanship; more famous as a sculptor, being the creator of the Colleoni statue at Venice, Leonardo was a man of striking physical attractiveness, great charm of manner and conversation, and mental accomplishment. He was well grounded in the sciences and mathematics of the day, as well as a gifted musician. His skill in draughtsmanship was extraordinary; shown by his numerous drawings as well as by his comparatively few paintings. His skill of hand is at the service of most minute observation and analytical research into the character and structure of form. Leonardo is the first in date of the great men who had the desire to create in a picture a kind of mystic unity brought about by the fusion of matter and spirit. Now that the Primitives had concluded their experiments, ceaselessly pursued during two centuries, by the conquest of the methods of painting, he was able to pronounce the words which served as a password to all later artists worthy of the name: painting is a spiritual thing, cosa mentale. He completed Florentine draughtsmanship in applying to modelling by light and shade, a sharp subtlety which his predecessors had used only to give greater precision to their contours. This marvellous draughtsmanship, this modelling and chiaroscuro he used not solely to paint the exterior appearance of the body but, as no one before him had done, to cast over it a reflection of the mystery of the inner life. In the Mona Lisa and his other masterpieces he even used landscape not merely as a more or less picturesque decoration, but as a sort of echo of that interior life and an element of a perfect harmony. Relying on the still quite novel laws of perspective this doctor of scholastic wisdom, who was at the same time an initiator of modern thought, substituted for the discursive manner of the Primitives the principle of concentration which is the basis of classical art. The picture is no longer presented to us as an almost fortuitous aggregate of details and episodes. It is an organism in which all the elements, lines and colours, shadows and lights, compose a subtle tracery converging on a spiritual, a sensuous centre. It was not with the external significance of objects, but with their inward and spiritual significance, that Leonardo was occupied.

Raphael

Жанр: visual_arts
Автор: Eugene Muntz
Raphael was the artist who most closely resembled Pheidias. The Greeks said that the latter invented nothing; rather, he carried every kind of art invented by his forerunners to such a pitch of perfection that he achieved pure and perfect harmony. Those words, “pure and perfect harmony,” express, in fact, better than any others what Raphael brought to Italian art. From Perugino, he gathered all the weak grace and gentility of the Umbrian School, he acquired strength and certainty in Florence, and he created a style based on the fusion of Leonardo

Leonardo da Vinci

Жанр: visual_arts
Автор: Eugene Muntz
Leonardo’s early life was spent in Florence, his maturity in Milan, and the last three years of his life in France. Leonardo’s teacher was Verrocchio. First he was a goldsmith, then a painter and sculptor: as a painter, representative of the very scientific school of draughtsmanship; more famous as a sculptor, being the creator of the Colleoni statue at Venice, Leonardo was a man of striking physical attractiveness, great charm of manner and conversation, and mental accomplishment. He was well grounded in the sciences and mathematics of the day, as well as a gifted musician. His skill in draughtsmanship was extraordinary; shown by his numerous drawings as well as by his comparatively few paintings. His skill of hand is at the service of most minute observation and analytical research into the character and structure of form. Leonardo is the first in date of the great men who had the desire to create in a picture a kind of mystic unity brought about by the fusion of matter and spirit. Now that the Primitives had concluded their experiments, ceaselessly pursued during two centuries, by the conquest of the methods of painting, he was able to pronounce the words which served as a password to all later artists worthy of the name: painting is a spiritual thing, cosa mentale. He completed Florentine draughtsmanship in applying to modelling by light and shade, a sharp subtlety which his predecessors had used only to give greater precision to their contours. This marvellous draughtsmanship, this modelling and chiaroscuro he used not solely to paint the exterior appearance of the body but, as no one before him had done, to cast over it a reflection of the mystery of the inner life. In the Mona Lisa and his other masterpieces he even used landscape not merely as a more or less picturesque decoration, but as a sort of echo of that interior life and an element of a perfect harmony. Relying on the still quite novel laws of perspective this doctor of scholastic wisdom, who was at the same time an initiator of modern thought, substituted for the discursive manner of the Primitives the principle of concentration which is the basis of classical art. The picture is no longer presented to us as an almost fortuitous aggregate of details and episodes. It is an organism in which all the elements, lines and colours, shadows and lights, compose a subtle tracery converging on a spiritual, a sensuous centre. It was not with the external significance of objects, but with their inward and spiritual significance, that Leonardo was occupied.

Michelangelo

Жанр: visual_arts
Автор: Eugene Muntz
Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelo

Michelangelo

Жанр: nonf_biography
Автор: Eugene Muntz
Michelangelo war, genau wie Leonardo, ein

Michel-Ange

Жанр: nonf_biography
Автор: Eugene Muntz
Michel-Ange (Michelangelo Buonarroti) (Caprese, 1475 - Rome, 1564)Michel-Ange, comme Lonard de Vinci, avait plusieurs cordes son arc et tait la fois sculpteur, architecte, peintre et pote. Il porta leur apothose le mouvement musculaire et l'effort, quivalents plastiques de la passion, ses yeux. Il faonna son dessin, le poussant jusqu'aux limites extrmes des possibilits de son me tourmente. Il n'y a aucun paysage dans la peinture de Michel-Ange. Toutes les motions, toutes les passions, toutes les penses de l'humanit furent personnifies dans les corps nus des hommes et des femmes. Il ne les conut presque jamais dans l'immobilit ou le repos.Michel-Ange devint peintre pour exprimer travers un matriau plus mallable ce qui animait sa nature titanesque, ce que son imagination de sculpteur voyait, mais que la sculpture lui refusait. Ainsi cet admirable sculpteur devint le rateur des dcorations les plus lyriques et les plus piques jamais vues dans l'histoire de la peinture : les fresques de la chapelle Sixtine au Vatican. La profusion des inventions dissmines sur cette vaste surface est merveilleuse. Ce sont en tout 343 personnages principaux qui sont reprsents avec une varit d'expressions prodigieuse, plusieurs de taille colossale, ct de figures plus secondaires introduites pour leur effet dcoratif. Le crateur de ce vaste plan n'avait que trente-quatre ans lorsqu'il s'attela au projet.Michel-Ange nous oblige largir notre conception du beau. Pour les Grecs, le critre tait la beaut physique, mais Michel-Ange, sauf dans quelques exceptions, comme sa peinture d'Adam sur le plafond de la chapelle Sixtine, et ses sculptures de la Piet, ne prtait que peu d'attention la beaut. Bien que matrisant parfaitement l'anatomie et les lois de la composition, il osait les ignorer toutes deux, si ncessaire, afin de suivre son ide : exagrer les muscles de ses personnages, et mme les placer dans des positions inappropries au corps humain. Dans son ultime fresque, celle du Jugement dernier sur le mur de l'autel de la chapelle, il laissa se dverser le torrent de son me. Qu'taient les rgles en comparaison d'une souffrance intrieure qui devait s'pancher ? C'est juste titre que les Italiens de son temps parlaient de la terribilit de son style. Michel-Ange fut le premier donner la forme humaine la possibilit d'exprimer toute une varit d'motions psychiques. Dans ses mains, elle devint un instrument duquel il jouait, comme un musicien sur son orgue, en tirant des thmes et des harmonies d'une diversit infinie. Ses personnages transportent notre imagination bien au-del de la signification personnelle des noms qui leur sont attachs.

Michelangelo

Жанр: nonf_biography
Автор: Eugene Muntz
Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelo's painting. All the emotions, all the passions, all the thoughts of humanity were personified in his eyes in the naked bodies of men and women. He rarely conceived his human forms in attitudes of immobility or repose. Michelangelo became a painter so that he could express in a more malleable material what his titanesque soul felt, what his sculptor's imagination saw, but what sculpture refused him. Thus this admirable sculptor became the creator, at the Vatican, of the most lyrical and epic decoration ever seen: the Sistine Chapel. The profusion of his invention is spread over this vast area of over 900 square metres. There are 343 principal figures of prodigious variety of expression, many of colossal size, and in addition a great number of subsidiary ones introduced for decorative effect. The creator of this vast scheme was only thirty-four when he began his work. Michelangelo compels us to enlarge our conception of what is beautiful. To the Greeks it was physical perfection; but Michelangelo cared little for physical beauty, except in a few instances, such as his painting of Adam on the Sistine ceiling, and his sculptures of the Pieta. Though a master of anatomy and of the laws of composition, he dared to disregard both if it were necessary to express his concept: to exaggerate the muscles of his figures, and even put them in positions the human body could not naturally assume. In his later painting, The Last Judgment on the end wall of the Sistine, he poured out his soul like a torrent. Michelangelo was the first to make the human form express a variety of emotions. In his hands emotion became an instrument upon which he played, extracting themes and harmonies of infinite variety. His figures carry our imagination far beyond the personal meaning of the names attached to them.

Leonardo da Vinci volume 2

Жанр: sf_horror
Автор: Eugene Muntz
Leonard de Vinci (Vinci, 1452 - Le Clos-Luce, 1519)Lonard passa la premire partie de sa vie Florence, la seconde Milan et ses trois dernires annes en France. Le professeur de Lonard fut Verrocchio, d'abord orfvre, puis peintre et sculpteur. En tant que peintre, Verrocchio tait reprsentatif de la trs scientifique cole de dessin ; plus clbre comme sculpteur, il cra la statue de Colleoni Venise. Lonard de Vinci tait un homme extrmement attirant physiquement, dot de manires charmantes, d'agrable conversation et de grandes capacits intellectuelles. Il tait trs vers dans les sciences et les mathmatiques, et possdait aussi un vrai talent de musicien. Sa matrise du dessin tait extraordinaire, manifeste dans ses nombreux dessins, comme dans ses peintures relativement rares. L'adresse de ses mains tait au service de la plus minutieuse observation, et de l'exploration analytique du caractre et de la structure de la forme. Lonard fut le premierdes grands hommes dsirer crer dans un tableau une sorte d'unit mystique issue de la fusion entre la matire et l'esprit. Maintenant que les Primitifs avaient conclu leurs expriences, poursuivies sans relche deux sicles durant, il pouvait prononcer les mots qui serviraient de ssame tous les artistes du futur dignes de ce nom : peindre est un acte intellectuel, une cosa mentale. Il enrichit le dessin florentin en intensifiant la perspective de champ par un modelage de l'ombre et de la lumire que ses prdcesseurs n'avaient utilis que pour donner une plus grande prcision aux contours. Cette technique est appele sfumato. Cette merveilleuse matrise du dessin, ce model et ce clair-obscur, il les utilisa non seulement pour peindre l'aspect extrieur du corps, mais aussi, comme personne avant lui, pour explorer une part du mystre de sa vie intrieure. Dans sa Mona Lisa, sa Sainte Anne et ses autres chefs-d'oeuvre, il ne se contente pas d'utiliser le paysage comme un ornement plus ou moins pittoresque, mais bien comme une sorte d'cho de cette vie intrieure, un lment constitutif de cette harmonie parfaite. Se fiant aux lois toujours assez rcentes de la perspective, ce docteur en sagesse acadmique, qui, cette mme poque, posait les bases de la pense moderne, substitua la manire discursive des Primitifs le principe de concentration qui est le fondement de l'art classique. Le tableau ne nous est plus prsent comme un agrgat presque fortuit de dtails et d'pisodes. C'est un organisme dont tous les lments, lignes et couleurs, ombres et lumires, composent un subtil entrelacs convergeant vers un noyau spirituel, voire sensuel. Dans Mona Lisa, Lonard de Vinci dpeignit la quintessence de l'univers et de la femme, ternelle ide de l'homme et symbole de la beaut parfaite auquel il aspire. La nature est voque ici par un magicien dans tout son mystre et sa puissance. Derrire le charmant visage, calme, derrire le front, juvnile et pourtant mditatif, pparaissent des montagnes, des glaciers, de l'eau et des rochers. Dans cette trs petite portion de surface peinte, se dvoile une vaste rvlation, ct de l'ternel fminin, de notre plante, notre mre la Terre. Lonard de Vinci ne se proccupait pas de l'aspect extrieur des objets, mais bien de leur signification intrieure et spirituelle.

Leonardo da Vinci volume 1

Жанр: sf_horror
Автор: Eugene Muntz
Leonard de Vinci (Vinci, 1452 - Le Clos-Luce, 1519)Lonard passa la premire partie de sa vie Florence, la seconde Milan et ses trois dernires annes en France. Le professeur de Lonard fut Verrocchio, d'abord orfvre, puis peintre et sculpteur. En tant que peintre, Verrocchio tait reprsentatif de la trs scientifique cole de dessin ; plus clbre comme sculpteur, il cra la statue de Colleoni Venise. Lonard de Vinci tait un homme extrmement attirant physiquement, dot de manires charmantes, d'agrable conversation et de grandes capacits intellectuelles. Il tait trs vers dans les sciences et les mathmatiques, et possdait aussi un vrai talent de musicien. Sa matrise du dessin tait extraordinaire, manifeste dans ses nombreux dessins, comme dans ses peintures relativement rares. L'adresse de ses mains tait au service de la plus minutieuse observation, et de l'exploration analytique du caractre et de la structure de la forme. Lonard fut le premierdes grands hommes dsirer crer dans un tableau une sorte d'unit mystique issue de la fusion entre la matire et l'esprit. Maintenant que les Primitifs avaient conclu leurs expriences, poursuivies sans relche deux sicles durant, il pouvait prononcer les mots qui serviraient de ssame tous les artistes du futur dignes de ce nom : peindre est un acte intellectuel, une cosa mentale. Il enrichit le dessin florentin en intensifiant la perspective de champ par un modelage de l'ombre et de la lumire que ses prdcesseurs n'avaient utilis que pour donner une plus grande prcision aux contours. Cette technique est appele sfumato. Cette merveilleuse matrise du dessin, ce model et ce clair-obscur, il les utilisa non seulement pour peindre l'aspect extrieur du corps, mais aussi, comme personne avant lui, pour explorer une part du mystre de sa vie intrieure. Dans sa Mona Lisa, sa Sainte Anne et ses autres chefs-d'oeuvre, il ne se contente pas d'utiliser le paysage comme un ornement plus ou moins pittoresque, mais bien comme une sorte d'cho de cette vie intrieure, un lment constitutif de cette harmonie parfaite. Se fiant aux lois toujours assez rcentes de la perspective, ce docteur en sagesse acadmique, qui, cette mme poque, posait les bases de la pense moderne, substitua la manire discursive des Primitifs le principe de concentration qui est le fondement de l'art classique. Le tableau ne nous est plus prsent comme un agrgat presque fortuit de dtails et d'pisodes. C'est un organisme dont tous les lments, lignes et couleurs, ombres et lumires, composent un subtil entrelacs convergeant vers un noyau spirituel, voire sensuel. Dans Mona Lisa, Lonard de Vinci dpeignit la quintessence de l'univers et de la femme, ternelle ide de l'homme et symbole de la beaut parfaite auquel il aspire. La nature est voque ici par un magicien dans tout son mystre et sa puissance. Derrire le charmant visage, calme, derrire le front, juvnile et pourtant mditatif, pparaissent des montagnes, des glaciers, de l'eau et des rochers. Dans cette trs petite portion de surface peinte, se dvoile une vaste rvlation, ct de l'ternel fminin, de notre plante, notre mre la Terre. Lonard de Vinci ne se proccupait pas de l'aspect extrieur des objets, mais bien de leur signification intrieure et spirituelle.

Leonardo da Vinci volume 2

Жанр: sf_horror
Автор: Eugene Muntz
Leonardo's early life was spent in Florence, his maturity in Milan, and the last three years of his life in France. Leonardo's teacher was Verrocchio. First he was a goldsmith, then a painter and sculptor: as a painter, representative of the very scientific school of draughtsmanship; more famous as a sculptor, being the creator of the Colleoni statue at Venice, Leonardo was a man of striking physical attractiveness, great charm of manner and conversation, and mental accomplishment. He was well grounded in the sciences and mathematics of the day, as well as a gifted musician. His skill in draughtsmanship was extraordinary; shown by his numerous drawings as well as by his comparatively few paintings. His skill of hand is at the service of most minute observation and analytical research into the character and structure of form. Leonardo is the first in date of the great men who had the desire to create in a picture a kind of mystic unity brought about by the fusion of matter and spirit. Now that the Primitives had concluded their experiments, ceaselessly pursued during two centuries, by the conquest of the methods of painting, he was able to pronounce the words which served as a password to all later artists worthy of the name: painting is a spiritual thing, cosa mentale. He completed Florentine draughtsmanship in applying to modelling by light and shade, a sharp subtlety which his predecessors had used only to give greater precision to their contours. This marvellous draughtsmanship, this modelling and chiaroscuro he used not solely to paint the exterior appearance of the body but, as no one before him had done, to cast over it a reflection of the mystery of the inner life. In the Mona Lisa and his other masterpieces he even used landscape not merely as a more or less picturesque decoration, but as a sort of echo of that interior life and an element of a perfect harmony. Relying on the still quite novel laws of perspective this doctor of scholastic wisdom, who was at the same time an initiator of modern thought, substituted for the discursive manner of the Primitives the principle of concentration which is the basis of classical art. The picture is no longer presented to us as an almost fortuitous aggregate of details and episodes. It is an organism in which all the elements, lines and colours, shadows and lights, compose a subtle tracery converging on a spiritual, a sensuous centre. It was not with the external significance of objects, but with their inward and spiritual significance, that Leonardo was occupied.

Leonardo da Vinci volume 1

Жанр: sf_horror
Автор: Eugene Muntz
Leonardo's early life was spent in Florence, his maturity in Milan, and the last three years of his life in France. Leonardo's teacher was Verrocchio. First he was a goldsmith, then a painter and sculptor: as a painter, representative of the very scientific school of draughtsmanship; more famous as a sculptor, being the creator of the Colleoni statue at Venice, Leonardo was a man of striking physical attractiveness, great charm of manner and conversation, and mental accomplishment. He was well grounded in the sciences and mathematics of the day, as well as a gifted musician. His skill in draughtsmanship was extraordinary; shown by his numerous drawings as well as by his comparatively few paintings. His skill of hand is at the service of most minute observation and analytical research into the character and structure of form. Leonardo is the first in date of the great men who had the desire to create in a picture a kind of mystic unity brought about by the fusion of matter and spirit. Now that the Primitives had concluded their experiments, ceaselessly pursued during two centuries, by the conquest of the methods of painting, he was able to pronounce the words which served as a password to all later artists worthy of the name: painting is a spiritual thing, cosa mentale. He completed Florentine draughtsmanship in applying to modelling by light and shade, a sharp subtlety which his predecessors had used only to give greater precision to their contours. This marvellous draughtsmanship, this modelling and chiaroscuro he used not solely to paint the exterior appearance of the body but, as no one before him had done, to cast over it a reflection of the mystery of the inner life. In the Mona Lisa and his other masterpieces he even used landscape not merely as a more or less picturesque decoration, but as a sort of echo of that interior life and an element of a perfect harmony. Relying on the still quite novel laws of perspective this doctor of scholastic wisdom, who was at the same time an initiator of modern thought, substituted for the discursive manner of the Primitives the principle of concentration which is the basis of classical art. The picture is no longer presented to us as an almost fortuitous aggregate of details and episodes. It is an organism in which all the elements, lines and colours, shadows and lights, compose a subtle tracery converging on a spiritual, a sensuous centre. It was not with the external significance of objects, but with their inward and spiritual significance, that Leonardo was occupied.

Michelangelo

Жанр: sf_horror
Автор: Eugene Muntz
Michelangelo war, genau wie Leonardo, ein

Michelangelo

Жанр: sf_horror
Автор: Eugene Muntz
Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelo's painting. All the emotions, all the passions, all the thoughts of humanity were personified in his eyes in the naked bodies of men and women. He rarely conceived his human forms in attitudes of immobility or repose. Michelangelo became a painter so that he could express in a more malleable material what his titanesque soul felt, what his sculptor's imagination saw, but what sculpture refused him. Thus this admirable sculptor became the creator, at the Vatican, of the most lyrical and epic decoration ever seen: the Sistine Chapel. The profusion of his invention is spread over this vast area of over 900 square metres. There are 343 principal figures of prodigious variety of expression, many of colossal size, and in addition a great number of subsidiary ones introduced for decorative effect. The creator of this vast scheme was only thirty-four when he began his work. Michelangelo compels us to enlarge our conception of what is beautiful. To the Greeks it was physical perfection; but Michelangelo cared little for physical beauty, except in a few instances, such as his painting of Adam on the Sistine ceiling, and his sculptures of the Pieta. Though a master of anatomy and of the laws of composition, he dared to disregard both if it were necessary to express his concept: to exaggerate the muscles of his figures, and even put them in positions the human body could not naturally assume. In his later painting, The Last Judgment on the end wall of the Sistine, he poured out his soul like a torrent. Michelangelo was the first to make the human form express a variety of emotions. In his hands emotion became an instrument upon which he played, extracting themes and harmonies of infinite variety. His figures carry our imagination far beyond the personal meaning of the names attached to them.

Michelangelo

Жанр: nonf_biography
Автор: Eugene Muntz
Michel-Ange (Michelangelo Buonarroti) (Caprese, 1475 - Rome, 1564)Michel-Ange, comme Lonard de Vinci, avait plusieurs cordes son arc et tait la fois sculpteur, architecte, peintre et pote. Il porta leur apothose le mouvement musculaire et l'effort, quivalents plastiques de la passion, ses yeux. Il faonna son dessin, le poussant jusqu'aux limites extrmes des possibilits de son me tourmente. Il n'y a aucun paysage dans la peinture de Michel-Ange. Toutes les motions, toutes les passions, toutes les penses de l'humanit furent personnifies dans les corps nus des hommes et des femmes. Il ne les conut presque jamais dans l'immobilit ou le repos.Michel-Ange devint peintre pour exprimer travers un matriau plus mallable ce qui animait sa nature titanesque, ce que son imagination de sculpteur voyait, mais que la sculpture lui refusait. Ainsi cet admirable sculpteur devint le rateur des dcorations les plus lyriques et les plus piques jamais vues dans l'histoire de la peinture : les fresques de la chapelle Sixtine au Vatican. La profusion des inventions dissmines sur cette vaste surface est merveilleuse. Ce sont en tout 343 personnages principaux qui sont reprsents avec une varit d'expressions prodigieuse, plusieurs de taille colossale, ct de figures plus secondaires introduites pour leur effet dcoratif. Le crateur de ce vaste plan n'avait que trente-quatre ans lorsqu'il s'attela au projet.Michel-Ange nous oblige largir notre conception du beau. Pour les Grecs, le critre tait la beaut physique, mais Michel-Ange, sauf dans quelques exceptions, comme sa peinture d'Adam sur le plafond de la chapelle Sixtine, et ses sculptures de la Piet, ne prtait que peu d'attention la beaut. Bien que matrisant parfaitement l'anatomie et les lois de la composition, il osait les ignorer toutes deux, si ncessaire, afin de suivre son ide : exagrer les muscles de ses personnages, et mme les placer dans des positions inappropries au corps humain. Dans son ultime fresque, celle du Jugement dernier sur le mur de l'autel de la chapelle, il laissa se dverser le torrent de son me. Qu'taient les rgles en comparaison d'une souffrance intrieure qui devait s'pancher ? C'est juste titre que les Italiens de son temps parlaient de la terribilit de son style. Michel-Ange fut le premier donner la forme humaine la possibilit d'exprimer toute une varit d'motions psychiques. Dans ses mains, elle devint un instrument duquel il jouait, comme un musicien sur son orgue, en tirant des thmes et des harmonies d'une diversit infinie. Ses personnages transportent notre imagination bien au-del de la signification personnelle des noms qui leur sont attachs.

Leonardo da Vinci band 2

Жанр: nonf_biography
Автор: Eugene Muntz
&

Leonardo da Vinci band 1

Жанр: nonf_biography
Автор: Eugene Muntz
&

Raffael

Жанр: home_sex
Автор: Eugene Muntz
Raffael (1483-1520), ein Zeitgenosse Leonardo da Vincis und Michelangelos und gleichzeitig der jungste dieser drei Titanen

Michelangelo

Жанр: sf_horror
Автор: Eugene Muntz
Michelangelo war, genau wie Leonardo, ein

Michel-Ange

Жанр: sf_horror
Автор: Eugene Muntz
Michel-Ange (Michelangelo Buonarroti) (Caprese, 1475 - Rome, 1564)Michel-Ange, comme Lonard de Vinci, avait plusieurs cordes son arc et tait la fois sculpteur, architecte, peintre et pote. Il porta leur apothose le mouvement musculaire et l'effort, quivalents plastiques de la passion, ses yeux. Il faonna son dessin, le poussant jusqu'aux limites extrmes des possibilits de son me tourmente. Il n'y a aucun paysage dans la peinture de Michel-Ange. Toutes les motions, toutes les passions, toutes les penses de l'humanit furent personnifies dans les corps nus des hommes et des femmes. Il ne les conut presque jamais dans l'immobilit ou le repos.Michel-Ange devint peintre pour exprimer travers un matriau plus mallable ce qui animait sa nature titanesque, ce que son imagination de sculpteur voyait, mais que la sculpture lui refusait. Ainsi cet admirable sculpteur devint le rateur des dcorations les plus lyriques et les plus piques jamais vues dans l'histoire de la peinture : les fresques de la chapelle Sixtine au Vatican. La profusion des inventions dissmines sur cette vaste surface est merveilleuse. Ce sont en tout 343 personnages principaux qui sont reprsents avec une varit d'expressions prodigieuse, plusieurs de taille colossale, ct de figures plus secondaires introduites pour leur effet dcoratif. Le crateur de ce vaste plan n'avait que trente-quatre ans lorsqu'il s'attela au projet.Michel-Ange nous oblige largir notre conception du beau. Pour les Grecs, le critre tait la beaut physique, mais Michel-Ange, sauf dans quelques exceptions, comme sa peinture d'Adam sur le plafond de la chapelle Sixtine, et ses sculptures de la Piet, ne prtait que peu d'attention la beaut. Bien que matrisant parfaitement l'anatomie et les lois de la composition, il osait les ignorer toutes deux, si ncessaire, afin de suivre son ide : exagrer les muscles de ses personnages, et mme les placer dans des positions inappropries au corps humain. Dans son ultime fresque, celle du Jugement dernier sur le mur de l'autel de la chapelle, il laissa se dverser le torrent de son me. Qu'taient les rgles en comparaison d'une souffrance intrieure qui devait s'pancher ? C'est juste titre que les Italiens de son temps parlaient de la terribilit de son style. Michel-Ange fut le premier donner la forme humaine la possibilit d'exprimer toute une varit d'motions psychiques. Dans ses mains, elle devint un instrument duquel il jouait, comme un musicien sur son orgue, en tirant des thmes et des harmonies d'une diversit infinie. Ses personnages transportent notre imagination bien au-del de la signification personnelle des noms qui leur sont attachs.

Michelangelo

Жанр: sf_horror
Автор: Eugene Muntz
Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelo's painting. All the emotions, all the passions, all the thoughts of humanity were personified in his eyes in the naked bodies of men and women. He rarely conceived his human forms in attitudes of immobility or repose. Michelangelo became a painter so that he could express in a more malleable material what his titanesque soul felt, what his sculptor's imagination saw, but what sculpture refused him. Thus this admirable sculptor became the creator, at the Vatican, of the most lyrical and epic decoration ever seen: the Sistine Chapel. The profusion of his invention is spread over this vast area of over 900 square metres. There are 343 principal figures of prodigious variety of expression, many of colossal size, and in addition a great number of subsidiary ones introduced for decorative effect. The creator of this vast scheme was only thirty-four when he began his work. Michelangelo compels us to enlarge our conception of what is beautiful. To the Greeks it was physical perfection; but Michelangelo cared little for physical beauty, except in a few instances, such as his painting of Adam on the Sistine ceiling, and his sculptures of the Pieta. Though a master of anatomy and of the laws of composition, he dared to disregard both if it were necessary to express his concept: to exaggerate the muscles of his figures, and even put them in positions the human body could not naturally assume. In his later painting, The Last Judgment on the end wall of the Sistine, he poured out his soul like a torrent. Michelangelo was the first to make the human form express a variety of emotions. In his hands emotion became an instrument upon which he played, extracting themes and harmonies of infinite variety. His figures carry our imagination far beyond the personal meaning of the names attached to them.

Michel-Ange

Жанр: sf_action
Автор: Eugene Muntz
Michel-Ange (Michelangelo Buonarroti) (Caprese, 1475 - Rome, 1564)Michel-Ange, comme Lonard de Vinci, avait plusieurs cordes son arc et tait la fois sculpteur, architecte, peintre et pote. Il porta leur apothose le mouvement musculaire et l'effort, quivalents plastiques de la passion, ses yeux. Il faonna son dessin, le poussant jusqu'aux limites extrmes des possibilits de son me tourmente. Il n'y a aucun paysage dans la peinture de Michel-Ange. Toutes les motions, toutes les passions, toutes les penses de l'humanit furent personnifies dans les corps nus des hommes et des femmes. Il ne les conut presque jamais dans l'immobilit ou le repos.Michel-Ange devint peintre pour exprimer travers un matriau plus mallable ce qui animait sa nature titanesque, ce que son imagination de sculpteur voyait, mais que la sculpture lui refusait. Ainsi cet admirable sculpteur devint le rateur des dcorations les plus lyriques et les plus piques jamais vues dans l'histoire de la peinture : les fresques de la chapelle Sixtine au Vatican. La profusion des inventions dissmines sur cette vaste surface est merveilleuse. Ce sont en tout 343 personnages principaux qui sont reprsents avec une varit d'expressions prodigieuse, plusieurs de taille colossale, ct de figures plus secondaires introduites pour leur effet dcoratif. Le crateur de ce vaste plan n'avait que trente-quatre ans lorsqu'il s'attela au projet.Michel-Ange nous oblige largir notre conception du beau. Pour les Grecs, le critre tait la beaut physique, mais Michel-Ange, sauf dans quelques exceptions, comme sa peinture d'Adam sur le plafond de la chapelle Sixtine, et ses sculptures de la Piet, ne prtait que peu d'attention la beaut. Bien que matrisant parfaitement l'anatomie et les lois de la composition, il osait les ignorer toutes deux, si ncessaire, afin de suivre son ide : exagrer les muscles de ses personnages, et mme les placer dans des positions inappropries au corps humain. Dans son ultime fresque, celle du Jugement dernier sur le mur de l'autel de la chapelle, il laissa se dverser le torrent de son me. Qu'taient les rgles en comparaison d'une souffrance intrieure qui devait s'pancher ? C'est juste titre que les Italiens de son temps parlaient de la terribilit de son style. Michel-Ange fut le premier donner la forme humaine la possibilit d'exprimer toute une varit d'motions psychiques. Dans ses mains, elle devint un instrument duquel il jouait, comme un musicien sur son orgue, en tirant des thmes et des harmonies d'une diversit infinie. Ses personnages transportent notre imagination bien au-del de la signification personnelle des noms qui leur sont attachs.

Michelangelo

Жанр: sf_action
Автор: Eugene Muntz
Michelangelo war, genau wie Leonardo, ein

Michelangelo

Жанр: sf_action
Автор: Eugene Muntz
Miguel Angel, al igual que Leonardo, fue un hombre de muchos talentos: escultor, arquitecto, pintor y poeta; logro expresar la apoteosis del movimiento muscular, que para el era la manifestacion fisica de la pasion. Llevo el arte del dibujo a los limites extremos de sus posibilidades, estirandolo, moldeandolo y hasta retorciendolo. En las pinturas de Miguel Angel no hay paisajes de ningun tipo. Todas las emociones, todas las pasiones, todos los pensamientos de la humanidad estan personificados, para el, en los cuerpos desnudos de hombres y mujeres. Rara vez concibio formas humanas en poses de inmovilidad o reposo. Miguel Angel se convirtio en pintor para poder expresar en un medio mas maleable lo que su alma de titan sentia, lo que su imaginacion de escultor veia, pero que la escultura le negaba. Asi, este admirable escultor se convirtio en el creador de la decoracion mas lirica y epica jamas contemplada: la Capilla Sixtina en el Vaticano. La vastedad de su ingenio esta plasmada sobre esta vasta superficie de mas de 900 metros cuadrados. Cuenta con 343 figuras principales con una prodigiosa variedad de expresiones, muchas de ellas en tamano colosal, y ademas un gran numero de personajes secundarios que se introdujeron como efecto decorativo. El creador de este gigantesco diseno tenia solo treinta y cuatro anos cuando comenzo su trabajo. Miguel Angel nos obliga a ampliar nuestro concepto de lo que es la belleza. Para los griegos se trataba de la perfeccion fisica, pero a Miguel Angel poco le importaba la belleza fisica, salvo en ciertas ocasiones, como en el caso de su pintura de Adan en la capilla Sixtina y de sus esculturas de la Pieta. Aunque era maestro en anatomia y en las leyes de la composicion, se atrevio a hacer caso omiso de ambas cuando le era necesario para expresar sus ideas: exageraba los musculos en sus figuras y hasta las colocaba en posiciones que el cuerpo humano no puede asumir naturalmente. En una de sus ultimas pintura, El juicio final en el muro del fondo de la Capilla Sixtina, dejo fluir su alma como en un torrente. Miguel Angel fue el primero en hacer que la figura humana expresara una amplia variedad de emociones. En sus manos, la emocion se convertia en un instrumento que podia tocar para extraer temas y armonias de infinita diversidad. Sus figuras llevan nuestra imaginacion mucho mas alla del significado personal de los nombres que poseen.

Michelangelo

Жанр: sf_action
Автор: Eugene Muntz
Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelo's painting. All the emotions, all the passions, all the thoughts of humanity were personified in his eyes in the naked bodies of men and women. He rarely conceived his human forms in attitudes of immobility or repose. Michelangelo became a painter so that he could express in a more malleable material what his titanesque soul felt, what his sculptor's imagination saw, but what sculpture refused him. Thus this admirable sculptor became the creator, at the Vatican, of the most lyrical and epic decoration ever seen: the Sistine Chapel. The profusion of his invention is spread over this vast area of over 900 square metres. There are 343 principal figures of prodigious variety of expression, many of colossal size, and in addition a great number of subsidiary ones introduced for decorative effect. The creator of this vast scheme was only thirty-four when he began his work. Michelangelo compels us to enlarge our conception of what is beautiful. To the Greeks it was physical perfection; but Michelangelo cared little for physical beauty, except in a few instances, such as his painting of Adam on the Sistine ceiling, and his sculptures of the Pieta. Though a master of anatomy and of the laws of composition, he dared to disregard both if it were necessary to express his concept: to exaggerate the muscles of his figures, and even put them in positions the human body could not naturally assume. In his later painting, The Last Judgment on the end wall of the Sistine, he poured out his soul like a torrent. Michelangelo was the first to make the human form express a variety of emotions. In his hands emotion became an instrument upon which he played, extracting themes and harmonies of infinite variety. His figures carry our imagination far beyond the personal meaning of the names attached to them.

Raphael

Жанр: det_action
Автор: Eugene Muntz
Raphael (Raffaello Sanzio)(Urbino, 1483 - Rome, 1520)Raphal est l'artiste moderne qui ressemble le plus Phidias. Les Grecs eux-mmes disaient que ce dernier n'avait rien invent mais qu'il avait port toutes les formes d'art cres par ses prdcesseurs un tel degr de perfection, qu'il atteignit l'harmonie pure et parfaite. Cette expression harmonie pure et parfaite exprime, en ralit mieux que toute autre ce que Raphal apporta l'art italien. Au Prugin, il emprunta les grces plutt fragiles et la douce limpidit de l'cole ombrienne qui s'teignit avec lui. Florence, il acquit force et assurance, et fonda un style bas sur la synthse des enseignements de Lonard et de Michel-Ange, claire par la lumire de son propre et noble esprit. Ses compositions sur le thme traditionnel de la Vierge et de l'Enfant semblaient extrmement novatrices ses contemporains, et seule leur gloire consacre nous empche aujourd'hui de percevoir leur originalit. Nul avant lui n'avait trait ce sujet sacr avec la posie d'une idylle familire, avec un tel air d'ternelle jeunesse, cette douce limpidit n'excluant ni l'amplitude ni la majest de la conception. Il mrite, nos yeux, plus de considration encore, pour la composition et la ralisation des fresques avec lesquelles, ds 1509, il orna les Stanze et les Loggie du Vatican. Le sublime, auquel Michel-Ange parvint par son ardeur et sa passion, Raphal l'atteignit par un quilibre souverain entre intelligence et sensibilit. L'un de ses chefs-d'A uvre, L'Ecole d'Athnes, est un monde autonome cr par un gnie ; jamais ne faiblira notre admiration pour les innombrables dtails, les portraits de visages ingals mme par les plus grands peintres du genre, la souplesse du geste, l'aisance de la composition, la vie qui circule partout grce la lumire, tout cela magnifi par l'attrait tout-puissant de la pense.

Raphael

Жанр: det_action
Автор: Eugene Muntz
Raphael was the artist who most closely resembled Pheidias. The Greeks said that the latter invented nothing; rather, he carried every kind of art invented by his forerunners to such a pitch of perfection that he achieved pure and perfect harmony. Those words,

Rafael

Жанр: det_action
Автор: Eugene Muntz
Rafael fue el artista mas parecido al gran escultor Pheidias. Los griegos decian que este ultimo no habia inventado nada, pero fue capaz de llevar cada tipo de arte inventado por sus predecesores a tal cuspide, que logro alcanzar la armonia pura y perfecta. Estas palabras,

Miguel Angel

Жанр: det_action
Автор: Eugene Muntz
Miguel Angel, al igual que Leonardo, fue un hombre de muchos talentos: escultor, arquitecto, pintor y poeta; logro expresar la apoteosis del movimiento muscular, que para el era la manifestacion fisica de la pasion. Llevo el arte del dibujo a los limites extremos de sus posibilidades, estirandolo, moldeandolo y hasta retorciendolo. En las pinturas de Miguel Angel no hay paisajes de ningun tipo. Todas las emociones, todas las pasiones, todos los pensamientos de la humanidad estan personificados, para el, en los cuerpos desnudos de hombres y mujeres. Rara vez concibio formas humanas en poses de inmovilidad o reposo. Miguel Angel se convirtio en pintor para poder expresar en un medio mas maleable lo que su alma de titan sentia, lo que su imaginacion de escultor veia, pero que la escultura le negaba. Asi, este admirable escultor se convirtio en el creador de la decoracion mas lirica y epica jamas contemplada: la Capilla Sixtina en el Vaticano. La vastedad de su ingenio esta plasmada sobre esta vasta superficie de mas de 900 metros cuadrados. Cuenta con 343 figuras principales con una prodigiosa variedad de expresiones, muchas de ellas en tamano colosal, y ademas un gran numero de personajes secundarios que se introdujeron como efecto decorativo. El creador de este gigantesco diseno tenia solo treinta y cuatro anos cuando comenzo su trabajo. Miguel Angel nos obliga a ampliar nuestro concepto de lo que es la belleza. Para los griegos se trataba de la perfeccion fisica, pero a Miguel Angel poco le importaba la belleza fisica, salvo en ciertas ocasiones, como en el caso de su pintura de Adan en la capilla Sixtina y de sus esculturas de la Pieta. Aunque era maestro en anatomia y en las leyes de la composicion, se atrevio a hacer caso omiso de ambas cuando le era necesario para expresar sus ideas: exageraba los musculos en sus figuras y hasta las colocaba en posiciones que el cuerpo humano no puede asumir naturalmente. En una de sus ultimas pintura, El juicio final en el muro del fondo de la Capilla Sixtina, dejo fluir su alma como en un torrente. Miguel Angel fue el primero en hacer que la figura humana expresara una amplia variedad de emociones. En sus manos, la emocion se convertia en un instrumento que podia tocar para extraer temas y armonias de infinita diversidad. Sus figuras llevan nuestra imaginacion mucho mas alla del significado personal de los nombres que poseen.

Michelangelo

Жанр: det_action
Автор: Eugene Muntz
Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelo's painting. All the emotions, all the passions, all the thoughts of humanity were personified in his eyes in the naked bodies of men and women. He rarely conceived his human forms in attitudes of immobility or repose. Michelangelo became a painter so that he could express in a more malleable material what his titanesque soul felt, what his sculptor's imagination saw, but what sculpture refused him. Thus this admirable sculptor became the creator, at the Vatican, of the most lyrical and epic decoration ever seen: the Sistine Chapel. The profusion of his invention is spread over this vast area of over 900 square metres. There are 343 principal figures of prodigious variety of expression, many of colossal size, and in addition a great number of subsidiary ones introduced for decorative effect. The creator of this vast scheme was only thirty-four when he began his work. Michelangelo compels us to enlarge our conception of what is beautiful. To the Greeks it was physical perfection; but Michelangelo cared little for physical beauty, except in a few instances, such as his painting of Adam on the Sistine ceiling, and his sculptures of the Pieta. Though a master of anatomy and of the laws of composition, he dared to disregard both if it were necessary to express his concept: to exaggerate the muscles of his figures, and even put them in positions the human body could not naturally assume. In his later painting, The Last Judgment on the end wall of the Sistine, he poured out his soul like a torrent. Michelangelo was the first to make the human form express a variety of emotions. In his hands emotion became an instrument upon which he played, extracting themes and harmonies of infinite variety. His figures carry our imagination far beyond the personal meaning of the names attached to them.

Michel-Ange

Жанр: det_action
Автор: Eugene Muntz
Michel-Ange (Michelangelo Buonarroti) (Caprese, 1475 - Rome, 1564)Michel-Ange, comme Lonard de Vinci, avait plusieurs cordes son arc et tait la fois sculpteur, architecte, peintre et pote. Il porta leur apothose le mouvement musculaire et l'effort, quivalents plastiques de la passion, ses yeux. Il faonna son dessin, le poussant jusqu'aux limites extrmes des possibilits de son me tourmente. Il n'y a aucun paysage dans la peinture de Michel-Ange. Toutes les motions, toutes les passions, toutes les penses de l'humanit furent personnifies dans les corps nus des hommes et des femmes. Il ne les conut presque jamais dans l'immobilit ou le repos.Michel-Ange devint peintre pour exprimer travers un matriau plus mallable ce qui animait sa nature titanesque, ce que son imagination de sculpteur voyait, mais que la sculpture lui refusait. Ainsi cet admirable sculpteur devint le rateur des dcorations les plus lyriques et les plus piques jamais vues dans l'histoire de la peinture : les fresques de la chapelle Sixtine au Vatican. La profusion des inventions dissmines sur cette vaste surface est merveilleuse. Ce sont en tout 343 personnages principaux qui sont reprsents avec une varit d'expressions prodigieuse, plusieurs de taille colossale, ct de figures plus secondaires introduites pour leur effet dcoratif. Le crateur de ce vaste plan n'avait que trente-quatre ans lorsqu'il s'attela au projet.Michel-Ange nous oblige largir notre conception du beau. Pour les Grecs, le critre tait la beaut physique, mais Michel-Ange, sauf dans quelques exceptions, comme sa peinture d'Adam sur le plafond de la chapelle Sixtine, et ses sculptures de la Piet, ne prtait que peu d'attention la beaut. Bien que matrisant parfaitement l'anatomie et les lois de la composition, il osait les ignorer toutes deux, si ncessaire, afin de suivre son ide : exagrer les muscles de ses personnages, et mme les placer dans des positions inappropries au corps humain. Dans son ultime fresque, celle du Jugement dernier sur le mur de l'autel de la chapelle, il laissa se dverser le torrent de son me. Qu'taient les rgles en comparaison d'une souffrance intrieure qui devait s'pancher ? C'est juste titre que les Italiens de son temps parlaient de la terribilit de son style. Michel-Ange fut le premier donner la forme humaine la possibilit d'exprimer toute une varit d'motions psychiques. Dans ses mains, elle devint un instrument duquel il jouait, comme un musicien sur son orgue, en tirant des thmes et des harmonies d'une diversit infinie. Ses personnages transportent notre imagination bien au-del de la signification personnelle des noms qui leur sont attachs.

Michelangelo

Жанр: det_action
Автор: Eugene Muntz
Michelangelo war, genau wie Leonardo, ein

Leonardo da Vinci

Жанр: det_action
Автор: Eugene Muntz
Leonardo's early life was spent in Florence, his maturity in Milan, and the last three years of his life in France. Leonardo's teacher was Verrocchio. First he was a goldsmith, then a painter and sculptor: as a painter, representative of the very scientific school of draughtsmanship; more famous as a sculptor, being the creator of the Colleoni statue at Venice, Leonardo was a man of striking physical attractiveness, great charm of manner and conversation, and mental accomplishment. He was well grounded in the sciences and mathematics of the day, as well as a gifted musician. His skill in draughtsmanship was extraordinary; shown by his numerous drawings as well as by his comparatively few paintings. His skill of hand is at the service of most minute observation and analytical research into the character and structure of form. Leonardo is the first in date of the great men who had the desire to create in a picture a kind of mystic unity brought about by the fusion of matter and spirit. Now that the Primitives had concluded their experiments, ceaselessly pursued during two centuries, by the conquest of the methods of painting, he was able to pronounce the words which served as a password to all later artists worthy of the name: painting is a spiritual thing, cosa mentale. He completed Florentine draughtsmanship in applying to modelling by light and shade, a sharp subtlety which his predecessors had used only to give greater precision to their contours. This marvellous draughtsmanship, this modelling and chiaroscuro he used not solely to paint the exterior appearance of the body but, as no one before him had done, to cast over it a reflection of the mystery of the inner life. In the Mona Lisa and his other masterpieces he even used landscape not merely as a more or less picturesque decoration, but as a sort of echo of that interior life and an element of a perfect harmony. Relying on the still quite novel laws of perspective this doctor of scholastic wisdom, who was at the same time an initiator of modern thought, substituted for the discursive manner of the Primitives the principle of concentration which is the basis of classical art. The picture is no longer presented to us as an almost fortuitous aggregate of details and episodes. It is an organism in which all the elements, lines and colours, shadows and lights, compose a subtle tracery converging on a spiritual, a sensuous centre. It was not with the external significance of objects, but with their inward and spiritual significance, that Leonardo was occupied.

Leonardo da Vinci

Жанр: det_action
Автор: Eugene Muntz
Leonardo paso los primeros anos de su vida en Florencia, su madurez en Milan y los ultimos tres anos de su existencia en Francia. El maestro de Leonardo fue Verrocchio. Primero fue orfebre, luego pintor y escultor: como pintor, fue representante de la escuela cientifica del dibujo; mas famoso como escultor con la estatua Colleoni en Venecia, Leonardo fue ademas un hombre de gran atractivo fisico, encantador en sus modales y conversacion y poseedor un intelecto superior. Era versado en las ciencias y las matematicas de su epoca, ademas de ser un musico de grandes dotes. Su habilidad como dibujante era extraordinaria y puede verse en sus numerosos dibujos, asi como en sus comparativamente escasas pinturas. Su habilidad manual estuvo al servicio de la mas minuciosa observacion e investigacion analitica del caracter y la estructura de las formas. Leonardo fue el primero de los grandes hombres que tuvieron el deseo de captar en una pintura un cierto tipo de comunion mistica creada por la fusion de la materia y el espiritu. Ya terminados los experimentos de los Primitivos, realizados de forma incesante durante dos siglos, y con el dominio de los metodos de pintura, fue capaz de pronunciar las palabras que sirvieron de contrasena a todos artistas posteriores dignos de tal nombre: la pintura es una cuestion espiritual, cosa mentale. Completo el dibujo florentino con el modelado por luz y sombras, un sutil recurso que sus predecesores solo habian usado para dar una mayor precision a sus contornos. Uso ese maravilloso talento en el dibujo, asi como su manera de modelar la figura y el claroscuro, no solo para pintar la apariencia exterior del cuerpo, sino para hacer algo que nunca se habia logrado con tal maestria: plasmar en sus obras un reflejo del misterio de la vida interior. En la Mona Lisa y sus otras obras maestras llego a utilizar el paisaje como algo mas que una mera decoracion pintoresca, convirtiendolo en una especie de eco de esa vida interior y en un elemento de la armonia perfecta. A traves de las todavia muy recientes leyes de la perspectiva, este docto erudito, que ademas fue un iniciador del pensamiento moderno, substituyo la manera discursiva de los Primitivos por el principio de concentracion, que es la base del arte clasico. La pintura ya no se presenta al espectador como un conjunto casi fortuito de detalles y episodios. Se convierte en un organismo en el que todos los elementos, las lineas y colores, las sombras y la luz componen una trama sutil que converge en un centro a la vez sensual y espiritual. La preocupacion de Leonardo no era la importancia externa de los objetos, sino su trascendencia interna y espiritual.

Michelangelo

Жанр: Изобразительное искусство, фотография
Автор: Eugene Muntz
Michelangelo war, genau wie Leonardo, ein “universeller” Kunstler: Maler, Baumeister, Bildhauer und Dichter. Er war der Hauptmeister der italienischen Hochrenaissance und Wegbereiter des Manierismus. Seine Vorliebe galt der als Ausdruck der Leidenschaft angesehenen Skulptur. Nach Landschaften sucht man bei ihm vergeblich. Alles, was den Menschen ausmacht, seine Gefuhle, Leidenschaften, seinen Intellekt, wollte Michelangelo durch den nackten Korper zum Ausdruck bringen, den er kaum einmal in einer Ruhestellung, ohne Bewegung zeigte. Die Malkunst war fur ihn nur ein anderes, leichter zu handhabendes Mittel, um das in kunstlerische Worte zu fassen, was seine Seele bewegte. So gestaltete er, der sich selbst in erster Linie als Bildhauer sah, ein Deckengemalde, wie es lyrischer und epischer in der gesamten Geschichte der Malkunst nicht zu finden ist: die Decke der Sixtinischen Kapelle. Uber die riesige Flache von 1000 m? entfaltete er hier seine ganze Genialitat. Als er die Arbeit im Auftrag von Papst Klemens VII. (1478 bis 1534) aufnahm, war er gerade mal 34 Jahre alt. In seinem letzten Gemalde, dem Jungsten Gericht an der Wand der Sixtinischen Kapelle, lie? er seinen eigenen Qualen freien Lauf. Was bedeuteten kunstlerische Gesetze und Konventionen im Vergleich zu dem Schmerz, der in seinem Inneren tobte und ein Ventil brauchte? Kein Wunder, dass seine Zeitgenossen den Ausdruck terribilita auf seinen Stil anwandten. Seine Figuren entfuhren uns in Gefilde der Phantasie, die weit uber das hinausgehen, was wir normalerweise mit ihrem Namen verbinden.

Michel-Ange

Жанр: Изобразительное искусство, фотография
Автор: Eugene Muntz
Michel-Ange (Michelangelo Buonarroti) (Caprese, 1475 – Rome, 1564) Michel-Ange, comme Leonard de Vinci, avait plusieurs cordes a son arc et etait a la fois sculpteur, architecte, peintre et poete. Il porta a leur apotheose le mouvement musculaire et leffort, equivalents plastiques de la passion, a ses yeux. Il faconna son dessin, le poussant jusquaux limites extremes des possibilites de son ame tourmentee. Il ny a aucun paysage dans la peinture de Michel-Ange. Toutes les emotions, toutes les passions, toutes les pensees de lhumanite furent personnifiees dans les corps nus des hommes et des femmes. Il ne les concut presque jamais dans limmobilite ou le repos. Michel-Ange devint peintre pour exprimer a travers un materiau plus malleable ce qui animait sa nature titanesque, ce que son imagination de sculpteur voyait, mais que la sculpture lui refusait. Ainsi cet admirable sculpteur devint le reateur des decorations les plus lyriques et les plus epiques jamais vues dans lhistoire de la peinture : les fresques de la chapelle Sixtine au Vatican. La profusion des inventions disseminees sur cette vaste surface est merveilleuse. Ce sont en tout 343 personnages principaux qui sont representes avec une variete dexpressions prodigieuse, plusieurs de taille colossale, a cote de figures plus secondaires introduites pour leur effet decoratif. Le createur de ce vaste plan navait que trente-quatre ans lorsquil sattela au projet. Michel-Ange nous oblige a elargir notre conception du beau. Pour les Grecs, le critere etait la beaute physique, mais Michel-Ange, sauf dans quelques exceptions, comme sa peinture dAdam sur le plafond de la chapelle Sixtine, et ses sculptures de la Pieta, ne pretait que peu dattention a la beaute. Bien que maitrisant parfaitement lanatomie et les lois de la composition, il osait les ignorer toutes deux, si necessaire, afin de suivre son idee : exagerer les muscles de ses personnages, et meme les placer dans des positions inappropriees au corps humain. Dans son ultime fresque, celle du Jugement dernier sur le mur de lautel de la chapelle, il laissa se deverser le torrent de son ame. Quetaient les regles en comparaison dune souffrance interieure qui devait sepancher ? Cest a juste titre que les Italiens de son temps parlaient de la terribilita de son style. Michel-Ange fut le premier a donner a la forme humaine la possibilite dexprimer toute une variete demotions psychiques. Dans ses mains, elle devint un instrument duquel il jouait, comme un musicien sur son orgue, en tirant des themes et des harmonies dune diversite infinie. Ses personnages transportent notre imagination bien au-dela de la signification personnelle des noms qui leur sont attaches.

Michelangelo

Жанр: Изобразительное искусство, фотография
Автор: Eugene Muntz
Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelos painting. All the emotions, all the passions, all the thoughts of humanity were personified in his eyes in the naked bodies of men and women. He rarely conceived his human forms in attitudes of immobility or repose. Michelangelo became a painter so that he could express in a more malleable material what his titanesque soul felt, what his sculptors imagination saw, but what sculpture refused him. Thus this admirable sculptor became the creator, at the Vatican, of the most lyrical and epic decoration ever seen: the Sistine Chapel. The profusion of his invention is spread over this vast area of over 900 square metres. There are 343 principal figures of prodigious variety of expression, many of colossal size, and in addition a great number of subsidiary ones introduced for decorative effect. The creator of this vast scheme was only thirty-four when he began his work. Michelangelo compels us to enlarge our conception of what is beautiful. To the Greeks it was physical perfection; but Michelangelo cared little for physical beauty, except in a few instances, such as his painting of Adam on the Sistine ceiling, and his sculptures of the Pieta. Though a master of anatomy and of the laws of composition, he dared to disregard both if it were necessary to express his concept: to exaggerate the muscles of his figures, and even put them in positions the human body could not naturally assume. In his later painting, The Last Judgment on the end wall of the Sistine, he poured out his soul like a torrent. Michelangelo was the first to make the human form express a variety of emotions. In his hands emotion became an instrument upon which he played, extracting themes and harmonies of infinite variety. His figures carry our imagination far beyond the personal meaning of the names attached to them.


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