Famous paintings of romanticism. Romanticism in art (XVIII – XIX centuries)

(French romanticisme), ideological and artistic direction in European and American spiritual culture con. 18 - 1st floor. 19th centuries As a style of creativity and thinking, it remains one of the main aesthetic and ideological models of the 20th century.
Romanticism emerged in the 1790s. first in Germany and then spread throughout the Western European cultural region. His ideological basis was the crisis of rationalism of the Enlightenment, the artistic search for pre-romantic movements (sentimentalism, “sturmerism”), the Great French Revolution, and German classical philosophy.

To the main features romantic style we must include the playful element, which dissolved the aesthetic framework of classicism; heightened attention to everything original and non-standard (and the special was not simply given a place in the universal, as the baroque style or pre-romanticism did, but the very hierarchy of the general and the individual was inverted); interest in myth and even understanding of myth as an ideal romantic creativity; symbolic interpretation of the world; the desire for the utmost expansion of the arsenal of genres; reliance on folklore, preference for image over concept, aspiration over possession, dynamics over statics; experiments in the synthetic unification of the arts; aesthetic interpretation of religion, idealization of the past and archaic cultures, often resulting in social protest; aestheticization of life, morality, politics.
IN fine arts Romanticism manifested itself most clearly in painting and graphics, less clearly in sculpture and architecture (for example, false Gothic). Majority national schools Romanticism in the fine arts developed in the struggle against official academic classicism. Developing in many countries, romanticism everywhere acquired a vibrant national identity, due to local historical traditions and conditions. The most consistent romantic school developed in France, where artists, reforming the system expressive means, dynamized the composition, combined forms with a stormy movement, used bright rich colors and a broad, generalized style of painting (painting by T. Gericault, E. Delacroix, O. Daumier, plastic art by P.J. David d'Angers, A.L. Bari, F. . Ryuda). In Germany and Austria, early romanticism was characterized by close attention to everything highly individual, a melancholy-contemplative tonality of the figurative-emotional structure, mystical-pantheistic moods (portraits and allegorical compositions by F.O. Runge, landscapes by K.D. Friedrich and J. A. Koch), the desire to revive the religious spirit of German and Italian painting 15th century (creativity of the Nazarenes); the art of Biedermeier (the works of L. Richter, K. Spitzweg, M. von Schwind, F. G. Waldmüller) became a kind of fusion of the principles of romanticism and “burger realism”. In Great Britain, the romantic freshness of painting is marked by the landscapes of J. Constable and R. Bonington, the fantastic images and unusual means of expression are the works of W. Turner, the attachment to the culture of the Middle Ages and the Early Renaissance is the work of the masters of the late romantic movement of the Pre-Raphaelites Shch.G. Rossetti, E. Burne-Jones, W. Morris, etc.). In other countries of Europe and America, the romantic movement was represented by landscapes (paintings by J. Inness and A.P. Ryder in the USA), compositions on themes folk life and history (the works of L. Galle in Belgium, J. Manes in the Czech Republic, V. Madaras in Hungary, P. Michalowski and J. Matejko in Poland, etc.).

Géricault, Delacroix and his followers. A decisive departure from classicism, in terms of content, was Gericault’s painting: “The Raft of the frigate “Medusa”,” the plot of which is based on reality and, in addition, modern event[The French frigate "Medusa" was lost in 1816; the voyage of those fleeing on the raft had already lasted 12 days when the frigate Argus removed several dozen dying people from it. In 1875, Géricault had an imitator in the person of Alfred Rolle.]; at the salon of 1819 this painting enjoyed amazing success. On a raft made from the remains of a frigate, moving among the waves, under a bad sail, a group of half-dead people and corpses is depicted at the moment when the sail of the ship became visible in the distance. Although in this work the expressiveness of forms and faces is more remarkable than the coloring, nevertheless, the homogeneous gray tone impressive. Unfortunately, Géricault died a few years after this painting without fulfilling his further artistic intentions. It should be noted that this denier K., a realist artist, came out of Guerin’s studio. It is difficult to say how Géricault would have been received in the first years of our century, if he had been possible at all then; but now its revolutionary direction for art occurred again during the period of development of liberal ideas in French society. It was not until 1818 that the last Allied troops cleared France and the restoration took its course; but the lessons of the great revolution did not remain without trace, and minds slowly and in a different way were preparing the second revolution. Painting, which obediently followed the changes in the social system, although it could not, in its essence, follow all the bends of the rapid flow of ideas, but even now was gradually preparing for the revolution, which took decisive character in the works of Delacroix, starting with his painting “Dante’s Boat”, which appeared in the salon of 1822, i.e. 3 years after “The Raft of the frigate “Medusa””. A student of the classic Guerin, Delacroix was, however, decisively against the instructions of his teacher. The picture was greeted by part of society and critics with censure, and by others with delight. Even Gro, a classicist by principle, approved of the colorfulness of the painting, advising the artist to improve in drawing forms. The scene is taken from " Divine Comedy"Dante, from the 8th canto of the Inferno, depicts the terrible voyage of the poet, accompanied by Virgil, through the waters of the Wrathful. This picture was followed by “The Massacre on the Island of Chios,” which also aroused great praise not only for its expression strong passions, but also for the fact that the artist declared himself an enemy of despotism and a friend of freedom; All sympathies were on the side of the unfortunate heroes of the Greek uprising against their oppressors - the Turks. K.'s supporters condemned this painting more strongly than the first, and the same Gro, paraphrasing the title of the painting, called it “a beating of painting.” Extremely passionate words were written on both sides critical articles; the views seemed irreconcilable, since some considered the principle of art to be the beauty of forms and lines, the nobility of which should not be disturbed even by suffering, and antique themes most suitable for personifying their views; others found beauty in the power of expression and in life, the reproduction of which requires strong color, variety in colors and tones, as one of the means to transport the viewer to reality. Some demanded from the artist, first of all, mental work, others - inspiration by feeling. David placed colorfulness in a subordinate position to drawing, that is, to lines and form, and corresponding composition; The school's painting technique was calm and color was allowed as far as was necessary to distinguish one subject from others. Some found Delacroix’s composition in “The Massacre on the Island of Chios” chaotic, not subject to any rules, inelegant, and the painting sketchy, unfinished, the shapes of people irregular, the expression crude; Delacroix's admirers forgave him the shortcomings of the drawing, not always noticing them, carried away by the distinctiveness of the faces and positions and the romanticism or drama of the whole. Delacroix said about himself: “for me, no work is possible if imagination does not play a role in it. If I am not excited, like a snake in the hand of the Pythia, I remain cold; this must be recognized and this must be submitted to.” But with such a temperament, which, however, was not expressed in his life, he still persistently pursued artistic idea and interpreted it in all sorts of ways, for which there is a lot of evidence in the 6,000 drawings left after his death. His artistic temperament forced him to look for ardent themes, to express passions taken to extreme limits; his brush seems hasty, but essentially decisive; he took all the colors, but not randomly, and combined them harmoniously. But the work, smooth, unified, equally thought out everywhere and equally relevant to all parts of the picture, like David’s, could not express what Delacroix was looking for. The artist looked for and found subjects that corresponded to his temperament not in history, but in works of literature, where, if descriptions were found, historical figures and events that have already passed through the imagination. Delacroix was fond of the works of Dante, Byron, Shakespeare, Goethe, and Walter Scott; from here came his, in addition to the already mentioned paintings: “Sad Greece on the ruins of Missolunga”, “Beheading of Marino Faliero”, “Death of Sardanapalus”, “Killing of the Bishop of Lüttich by the Ardennes Boar, Vil. Delamarck" (from "Quentin Dorward"). The last of the named paintings (under fire lighting) made a terrible impression with brutal faces and wild passion characters scenes. Delacroix received from his fans the name “Victor Hugo of painting,” and his enemies called him “Robespierre and the executioner of painting.” The new direction given to painting, which many quickly joined, was called romantic. Delacroix, in contrast to David, led a calm life, did not enter into politics, and only once responded to the struggle of parties with the painting “Freedom on the Barricades,” where he embodied the figure of a woman poetic work Auguste Barbier, written shortly after the July Revolution [Criticism, however, has not yet fully decided who borrowed from whom: whether the painter was from the writer, or vice versa.]. After V. Hugo wrote “Les Orientales”, Delacroix, in search of the colorful, travels to Tangier and Algeria, resulting in paintings of brilliant color - “Algerian Women in a Harem”, “Jewish Wedding in Morocco”, etc., where his themes are already calm. Among the romantics, Eugene Deveria deserves mention, for a time he eclipsed the founder of the school with his painting “The Birth of King Henry IV”; in addition, Sigalon, Poterle, Boulanger, S. Evre - all romantics of the second category. Sigalon (1788-1837) wrote bloody, terrifying scenes: “Narcissus” and “Locusta testing poison on a slave” (1824), “Josabeth in the Massacre”, Boulanger - “Mazeppa Tied to a Wild Horse”, scenes of misfortune from “Romeo and Juliet” and “Lucretia Borgia” by V. Hugo, “Judith”, “The Triumph of Petrarch” - all this in a bold, colorful way new school. In 1861 he exhibited “The Sabbath”, according to V. Hugo, - wild dance chaotically intertwined figures. Arie Schaeffer liked to portray passions that were not so ardent and anxious, but penetrated deeply into the heart, which is different from Delacroix, but nevertheless he is a romantic. “The Corpse of Gaston de Foix on the Battlefield of Ravenna” is the first, already firmly in the romantic school owned painting, “Suliot Women” (1827) - even more, “Faust and Mephistopheles” (1881), “Gretchen”, “Francesca da Rimini” (In the Kushelevskaya Art Gallery, St. Petersburg Academy of Arts), after Dante, “Paolo” (1835) and many religious paintings.

Alexander Gabriel Dean in scenes of oriental life excellently depicted a colorful play of light and colors (“Turkish Patrol”, “Turkish Guardhouse”, “Monkey-Painter”, “Monkey-Musician”). He loved to depict biblical scenes and even imagined that he had a special calling to this family; placed figures among large landscapes romantic in nature. Its main advantage is its colorfulness. Camille Roqueplan (1803-1855) - a romantic, although he came from classical school: “Scene from Confessions of Rousseau”, “Lion in Love”, “Antique”, “Scene from St. Bartholomew’s Night”; Eugene Isabey (son of Jean-Baptiste), Narcisse Diaz; Robert Fleury took historical subjects and was different good drawing: “Scene from St. Bartholomew’s Night”, “Marino Faliero”, “Religious Competition in Poissy” (1840). Alexander Hesse (born in 1805), a student of Gros, also left classicism. Some of these artists, as well as Chanmartin, Gigou, Clément Boulanger, wavered between different styles. And in fact, romanticism did not have certain, limiting and constraining rules, the individuality of the artists was so free that some of them are even known only for virtuosity, others took scenes simply from the works of the latest fashion writers and lived by someone else’s fiction at all costs. Some, as we have seen, depicted ugliness or extremes that aroused disgust. Therefore, romanticism had its enemies, who considered the principles of the romantics to be as false as the principles of David. This one became isolated in the ancient pagan world, romanticism - mainly in the Middle Ages, according to Walter Scott; there was only a chronological rearrangement. Romantics wrote in every possible way about the martyrs of Chateaubriand and took types from literature up to and including Alfred Musset and Eugene Sue. Delacroix was indeed a commander, but without an army, since his followers little by little reached the path leading to the denial of art and replaced the art of painting with deft technique. They founded literary painting and showed what it could reach: paintings became vignettes for books. One critic, thinking back to the times of David, says that there are two kinds of innovators: some destroy, others create. David belonged to the first: although he did not founded anything, his activity did not pass without a trace and was useless, for he crushed degenerate painting. Romanticism, in turn, dropped the school of David, but the time of romanticism has passed. He did not produce anything that would deserve to live in posterity. There were talents, but for the most part the works produced impressions that were strong due to their suddenness, and not those that would penetrate deeply and remain for a long time. Of the artists, the most important and most powerful opponent of romanticism was Ingres. At the beginning of his activity, he himself did not enjoy the academy’s favor; although he received the 1st Roman award for “Achilles” at the age of twenty, he was counted among the members of the academy only at the age of 43. Neither the ancient ideals of David, nor, however, his pure nature satisfied him; he understood the false pathos of the pseudo-classical school, but on the other hand, he hated Delacroix’s direction and painting to such an extent that he transferred the hatred to himself and could not hear his name without a hostile feeling. Ingres's coloring is, of course, higher than David's; loving beautiful, noble forms, he did not simply imitate in painting sculptural works like David, but also did not like any color romantic school, nor strong expressions passions. Despite his distance from both extremes, he is rather a moderate and modified classical idealist. The conciliatory direction, emanating from romanticism, belongs to Delaroche (a student of Gros), who tried to combine a correct and careful drawing with a harmonious color, without giving a dominant advantage to either one or the other quality. The content of his paintings is usually dramatic or tragic, but he avoids the sharply ugly, which Delacroix’s close followers were not afraid of. In addition, Delacroix took his subjects from history (“Cromwell and Charles I lying in a coffin”, “The Assassination of the Duke of Guise”, “Sons of Edward”). Delaroche is related in spirit to the poets C. Delavigne and A. de Vigny. Couture (q.v.), who went through the school of Gros and Delaroche, also followed a conciliatory path; his “Romans of the Decline,” which made him famous throughout France, however, represents the decline of classicism in form, and in terms of color does not reach the highest level of the romantic school.

Ivan Konstantinovich Aivazovsky “Sea. Sunny day" Private collection Romanticism

John Constable "Autumn Berries and Flowers in a Brown Pot" Romanticism

Thomas Sully "Portrait of Miss Mary and Emily McEwan", 1823 Los Angeles County Museum of Art, USA Romanticism

William Mo Eagly “Just as the twig is bent, the tree is inclined”, 1861 Philadelphia Museum of Art, USA Romanticism The painting is named by the proverb “Just as the twig is bent, the tree is inclined.” The analogue in Russian is “Where the tree leaned, that’s where it fell.”

Ivan Konstantinovich Aivazovsky “View of Teflis from Seyd-Abad”, 1868 National Gallery Armenia, Yerevan Romanticism Seyd-Abad is a quarter in Tiflis, famous for its sulfur baths and unrivaled bath attendants. When talking about Seyd-Abad, one cannot help but touch on the history of the famous Abanotubani - Bath Quarter. It had several names. There is a legend that a certain fugitive from the border pashalyk, having caught a cold in...

Karl Pavlovich Bryullov “Portrait of the Most Serene Princess Elizaveta Pavlovna Saltykova”, 1841 Russian Museum, St. Petersburg Romanticism The princess is depicted sitting in a chair on the terrace of her estate. In this canvas, filled with lyrical, soulful notes, Bryullov created a poetic image of his heroine. Elizaveta Pavlovna Saltykova (née Stroganova), daughter of Count Stroganov, philanthropist and major industrialist. Bryullov was always attracted to women from noble families...

Remy-Furcy Descarcin "Portrait of Doctor de S. playing chess with Death", 1793 Museum French Revolution, Viziy, France Romanticism Judging by the inscription on the frame of the picture, the canvas was painted by the artist in 1793, shortly before his death (the artist was executed for sympathizing with the counter-revolution) and is his last work. For a long time the painting was kept in private collections and was...

Ivan Konstantinovich Aivazovsky “Foggy morning in Italy”, 1864 Feodosia Art Gallery named after I.K. Aivazovsky, Feodosia Romanticism In 1840, Aivazovsky goes to Italy. There he meets prominent figures Russian literature, art, science - Gogol, Alexander Ivanov, Botkin, Panaev. At the same time, in 1841, the artist changed his last name Gaivazovsky to Aivazovsky. The artist's activities in...

Joshua Reynolds "Portrait of the Waldgrave Sisters", 1780 National Gallery of Scotland, Edinburgh Romanticism For the portrait of the Waldgrave sisters, Reynolds chose the traditional English painting genre of "conversational picture". He depicted them sitting around a table and doing needlework. But in his performance, the everyday scene loses its ordinariness. He strives to lift his heroines above everyday life. The ladies, full of youthful charm, are dressed in white...

The beginning of the 19th century was a time of cultural and spiritual upsurge in Russia. If in economic and socio-political development Russia lagged behind advanced European states, then in cultural achievements she not only kept up with them, but often got ahead of them. The development of Russian culture in the first half of the 19th century was based on the transformations of the previous time. The penetration of elements of capitalist relations into the economy has increased the need for literate and educated people. Cities became major cultural centers.

New social strata were drawn into social processes. Culture developed against the backdrop of ever-increasing national identity of the Russian people and in connection with this had a pronounced national character. She had a significant influence on literature, theater, music, and fine arts. Patriotic War of 1812, which to an unprecedented degree accelerated the growth of the national self-awareness of the Russian people and its consolidation. There was a rapprochement with the Russian people of other peoples of Russia.

Start XIX century is rightly called the golden age of Russian painting. It was then that Russian artists reached a level of skill that put their works on a par with the best examples European art.

Three names open the Russian painting XIX centuries - Kiprensky , Tropinin , Venetsianov. Everyone has different origins: illegitimate landowner, serf and descendant of a merchant. Everyone has their own creative aspiration - romantic, realist and “village lyricist”.

Despite early infatuation historical painting Kiprensky is known primarily as an outstanding portrait painter. It can be said that in early XIX V. he became the first Russian portrait painter. The old masters, who became famous in the 18th century, could no longer compete with him: Rokotov died in 1808, Levitsky, who survived him by 14 years, no longer painted due to an eye disease, and Borovikovsky, who did not live several months before the uprising Decembrists, worked very little.

Kiprensky was lucky enough to become an artistic chronicler of his time. “History in the faces” can be considered his portraits, which depict many participants in those historical events, whose contemporary he was: heroes of the War of 1812, representatives of the Decembrist movement. The technology also came in handy pencil drawing, the training of which was given serious attention at the Academy of Arts. Kiprensky created, essentially, new genre- a pictorial portrait.

Kiprensky created many portraits of Russian cultural figures, and, of course, the most famous among them is Pushkin. It was written by order Delviga, the poet’s lyceum friend, in 1827. Contemporaries noted the amazing similarity of the portrait to the original. The artist freed the image of the poet from the everyday features that are inherent in the portrait of Pushkin by Tropinin, painted in the same year. Alexander Sergeevich was captured by the artist at a moment of inspiration when he was visited by a poetic muse.

Death overtook the artist during his second trip to Italy. Last years many things went wrong with the famous painter. A creative slump began. Shortly before his death, his life was darkened tragic event: according to contemporaries, the artist was falsely accused of murder and was afraid to leave the house. Even marrying his Italian pupil did not brighten up his last days.

Few people mourned the Russian painter who died in a foreign land. Among the few who truly understood what kind of master she had lost domestic culture, there was the artist Alexander Ivanov, who was in Italy at that time. In those sad days he wrote: Kiprensky “was the first to make the Russian name known in Europe.”

Tropinin entered the history of Russian art as an outstanding portrait painter. He said: “A portrait of a person is painted for the memory of those close to him, those who love him.” According to contemporaries, Tropinin painted about 3,000 portraits. Whether this is so is difficult to say. One of the books about the artist contains a list of 212 precisely identified persons whom Tropinin portrayed. He also has many works entitled “Portrait of an Unknown Woman”. State dignitaries, nobles, warriors, businessmen, minor officials, serfs, intellectuals, and figures of Russian culture posed for Tropinin. Among them: historian Karamzin, writer Zagoskin, art critic Odoevsky, painters Bryullov and Aivazovsky, sculptor Vitali, architect Gilardi, composer Alyabyev, actors Shchepkin and Mo-chalov, playwright Sukhovo-Kobylin.

One of best works Tropinina - portrait of a son. It must be said that one of the “discoveries” of Russian art of the 19th century. was child portrait. In the Middle Ages, a child was viewed as a small adult who had not yet grown up. Children were even dressed in outfits that were no different from adults: in mid-18th century V. girls wore tight corsets and wide skirts with flaps. Only at the beginning of the 19th century. they saw a child in the child. Artists were among the first to do this. There is a lot of simplicity and naturalness in Tropinin’s portrait. The boy is not posing. Interested in something, he turned around for a moment: his mouth was slightly open, his eyes were shining. The child's appearance is surprisingly charming and poetic. Golden disheveled hair, an open, childishly plump face, a lively look from intelligent eyes. You can feel how lovingly the artist painted the portrait of his son.

Tropinin painted self-portraits twice. On the later one, dated 1846, the artist is 70 years old. He depicted himself with a palette and brushes in his hands, leaning on a mashtabel - a special stick used by painters. Behind him is a majestic panorama of the Kremlin. In his younger years, Tropinin possessed heroic strength and good spirits. Judging by the self-portrait, he retained the strength of his body in old age. The round face with glasses radiates good nature. The artist died 10 years later, but his image remained in the memory of descendants - large, a kind person, who enriched Russian art with his talent.

Venetsianov discovered the peasant theme in Russian painting. He was the first among Russian artists to show beauty in his canvases. native nature. The Academy of Arts did not favor the landscape genre. It occupied the penultimate place in importance, leaving behind an even more despicable one - household. Only a few masters painted nature, preferring Italian or imaginary landscapes.

In many of Venetsianov’s works, nature and man are inseparable. They are connected as closely as a peasant is with the land and its gifts. Your most famous works- "Haymaking", "In the arable land. Spring", "At the harvest. Summer" - the artist creates in the 20s. This was the peak of his creativity. No one in Russian art was able to show peasant life and the work of peasants with such love and as poetically as Venetsianov. In the painting "On the Plowed Field. Spring" a woman is harrowing a field. This hard, exhausting work looks sublime on Venetsianov’s canvas: a peasant woman in an elegant sundress and kokoshnik. With her beautiful face and flexible figure she resembles ancient goddess. Leading by the bridles of two obedient horses harnessed to a harrow, she does not walk, but seems to soar over the field. Life around flows calmly, measuredly, peacefully. Rare trees turn green, white clouds float across the sky, the field seems endless, on the edge of which a baby sits, waiting for its mother.

The painting “At the Harvest. Summer” seems to continue the previous one. The harvest is ripe, the fields are full of golden stubble - the time has come for the harvest. On foreground, putting aside the sickle, the peasant woman breastfeeds the child. The sky, the field, and the people working on it are inseparable for the artist. But still, the main subject of his attention is always the person.

Venetsianov created a whole gallery of portraits of peasants. This was new for Russian painting. In the 18th century people from the people, and especially serfs, were of little interest to artists. According to art historians, Venetsianov was the first in the history of Russian painting to “accurately capture and recreate the Russian folk type.” “The Reapers”, “Girl with Cornflowers”, “Girl with a Calf”, “Sleeping Shepherd” - beautiful images of peasants, immortalized by Venetsianov. Portraits of peasant children occupied a special place in the artist’s work. How good is “Zakharka” - a big-eyed, snub-nosed, big-lipped boy with an ax on his shoulder! Zakharka seems to personify an energetic peasant nature, accustomed to work from childhood.

Alexey Gavrilovich left about himself good memory not only as an artist, but also as outstanding teacher. During one of his visits to St. Petersburg, he took on a novice artist as a student, then another, a third... Thus a whole art school, which went down in art history under the name Venetsianovskaya. Over a quarter of a century, about 70 talented young men passed through it. Venetsianov tried to redeem serf artists from captivity and was very worried if this failed. The most talented of his students, Grigory Soroka, never received his freedom from his landowner. He lived to see the abolition of serfdom, but, driven to despair by the omnipotence of his former owner, he committed suicide.

Many of Venetsianov's students lived in his house on full content. They learned the secrets of Venetian painting: firm adherence to the laws of perspective, close attention to nature. Among his students there were many talented craftsmen who left a noticeable mark on Russian art: Grigory Soroka, Alexey Tyranov, Alexander Alekseev, Nikifor Krylov. “Venetsianovtsy” - they lovingly called his pets.

Thus, it can be argued that first third XIX century there was a rapid rise in cultural development Russia and this time is called the golden age of Russian painting.

Russian artists have reached a level of skill that puts their works on a par with the best examples of European art.

Glorifying the heroic deeds of the people, the idea of their spiritual awakening, exposing the ills of feudal Russia—these are the main themes of the fine arts of the 19th century.

In portraiture, the features of romanticism - the independence of the human personality, its individuality, the freedom to express feelings - are especially distinct.

Many portraits of Russian cultural figures, including children's portraits, were created. Comes into fashion peasant theme, a landscape that showed the beauty of our native nature.

This picture is built on shades, not blue, not pink - on shades of gray. Everything is covered in darkness - no, it’s not true. It’s a bright night because the air is clean, there is no one, there is no smoke or city lights. Night - there is life, there is no sound. Civilization is somewhere out there, beyond the horizon. Kuindzhi knew how to show the breadth of open spaces native land, And bright colors small stage.

Leonardo has many drawings, dedicated to the development the plot of the Madonna and Child, especially the so-called Mammal, i.e. breastfeeding. But imagine him as a sentimental artist, deeply and reverently reflecting on mother's love(as is often written in reviews dedicated to the Hermitage “Madonna Litta”), it is completely impossible. Please let me go! Tenderness, sentimentality, etc. mimimi- this is something that Leonardo definitely does not have, and never had.

essays on paintings famous artists to the website

Ashy, smoky, languid, pastel, airy... Purple, pale blue, delicate, transparent... Rose ash. In the insanely talented best-selling novel by K. McCullough “The Thorn Birds” the color of the dress main character, doomed to eternal separation from her lover, was called “ashes of the rose.” In the portrait of Maria Lopukhina, who died of consumption a year after its completion, everything is permeated with the subtle sadness of youth, leading to no future, disappearing like smoke - everything is permeated with the “ash of a rose.”