Famous Spanish artists and their paintings. Romanesque style in painting in Spain

Spanish art

Spanish art is the art of Spain. Having been an important part of Western art (especially influenced by Italy and France, especially during the Baroque and Classical periods) and having produced many famous and influential artists (including Velázquez, Goya and Picasso) to the world, Spanish art has often possessed distinctive features and was judged somewhat separately from other European schools. These differences can be partly explained by Spain's Moorish heritage (especially in Andalusia) and the political and cultural climate in Spain during the Counter-Reformation and subsequent eclipse of Spanish power under the Bourbon dynasty.

El Greco (1541-1614), "The Unveiling of Christ" (El Espolio) (1577-1579), is one of the most famous altar paintings by El Greco, whose altar paintings are famous dynamic compositions and a feeling of movement.

The early Iberians left behind a lot; north-western Spain shares with south-western France areas where art finds are richest Upper Paleolithic in Europe are found in the Altamira cave and in other areas where they are found cave drawings, created between 35,000 and 11,000 BC. e. Rock art of the Iberian Mediterranean Basin (as defined by UNESCO) is art from eastern Spain, probably from around 8000-3500 BC, showing animals and hunting scenes, often created with an increasing sense of the overall composition of a large-scale scene. Portugal in particular is rich in megalithic monuments, including Almendres Cromlech (Cromlech Almendris), and Iberian schematic art is stone sculpture, petroglyphs and rock paintings from the early iron ages, which are found throughout the Iberian Peninsula, with geometric patterns, as well as with the increased use of simple pictogram-like human figures, which is typical for similar types of art from other regions. Casco de Leiro - golden ritual helmet of the late Bronze Age may be related to other gold headdresses found in Germany, and the Villena Treasure is a huge hoard of geometrically designed vessels and decorations, possibly from the 10th century BC, including 10 kilograms of gold.

Iberian sculpture before the Roman conquest reflects contact with other advanced ancient cultures that established small coastal colonies, including the Greeks and Phoenicians; the Phoenician settlement of Sa Caleta in Ibiza has been preserved for excavation, much of it now located beneath major cities, and Dame Guardamar was found during excavations at another Phoenician site. The Lady of Elche (probably 4th century BC) perhaps represents Tanit, but also shows Hellenistic influence, as does the Sphinx of Agost and the Beach of Balasota of the 6th century. The Guisando Bulls are the most impressive example of verraco - large Celto-Iberian animal sculptures made of stone; Bull from Osuna 5th century BC is the most developed single example. Several decorated falcatas, the characteristic curved Iberian swords, survive, as well as many bronze figurines used as votive images. The Romans gradually conquered all of Iberia between 218 BC. and 19 AD

As elsewhere in the Western Empire, Roman occupation largely destroyed local styles; Iberia was an important agricultural area for the Romans and the elite acquired extensive estates producing wheat, olives and wine, some later emperors came from the Iberian provinces; During excavations, many huge villas were discovered. The Aqueduct of Segovia, the Roman walls of Lugo, the Alcantara Bridge (104-106 AD) and the Tower of Hercules lighthouse are well-preserved major monuments, impressive examples of Roman engineering, if not always art. Roman temples are quite well preserved in Vic, Évora (now in Portugal) and Alcantara, and elements of them are also preserved in Barcelona and Cordoba. There must have been local workshops producing high quality mosaics, although much of the best free-standing sculpture was probably imported. The Missorium of Theodosius I is a famous silver dish from late antiquity that was found in Spain but was probably created in Constantinople.

Bison from Altamira Cave (between approx. 16 500 and 14 000 years ago)

Villena's treasure is probablyXin BC

Early Middle Ages

Fragment of the votive crown of Recquesvint from the Guarrazar treasure, now in Madrid. The hanging letters read [R]ECCESVINTUS REX OFFERET (King R. donates this). Public domain.

The Christian Visigoths ruled Iberia after the collapse of the Roman Empire, and the rich 7th-century Guarrazar treasure was probably kept to avoid looting during the Muslim conquest of Spain, now representing a unique surviving example of Christian votive crowns made of gold; despite the Spanish style, this form, probably then used by the elite throughout Europe. Other examples of Visigothic art are metalwork, mainly jewelry and buckles, as well as stone reliefs, survive to give an idea of ​​the culture of these originally barbaric Germanic peoples, who kept themselves very largely separate from their Iberian contemporaries, and whose rule collapsed when the Muslims arrived in 711.

The Jeweled Cross of Victory, the La Cava Bible and the Agate Casket of Oviedo are surviving examples of the rich pre-Romanesque culture of the 9th-10th century Asturias region of northwestern Spain, which remained under Christian rule; The banquet house of Santa Maria del Naranco overlooking Oviedo, completed in 848 and later converted into a church, is a unique surviving example of architecture from this period in Europe. The Vigilan Codex, completed in 976 in the Rioja region, shows a complex mixture of several styles.

Arabesque-decorated panel from Madina al-Zahra, robven - http://www.flickr.com/photos/robven/3048203629/

The magnificent palace-city of Madina al-Zahra near Cordoba was built in the 10th century for the Umayyad dynasty of the Caliphs of Cordoba; it was to become the capital of Islamic Andasusia; excavations are still ongoing. A significant amount of very elaborate decoration of the main buildings survives, demonstrating the enormous wealth of this highly centralized state. The palace at Aljafería dates from a later period, after Islamic Spain was divided into several kingdoms. Famous examples of Islamic architecture and its decorations are the temple-mosques of Cordoba, whose Islamic elements were added between 784 and 987, and the Alhambra and Generalife palaces in Granada, dating from the final period of Muslim Spain.

The Pisan Griffin is the largest known Islamic animal sculpture and the most spectacular sculpture of the Al-Andalus group, many of these sculptures were created to support fountain pools (such as in the Alhambra), or in in rare cases for burning incense and other similar purposes.

The Christian population of Muslim Spain developed a style of Mozarabic art, the best known surviving examples of which are several illuminated manuscripts, several commentaries on the Book of Revelations of the Asturian Saint Beatus (Beatus) of Lieban (c. 730 - c. 800), which created a theme that allowed a brightly colored primitivist style to fully demonstrate its qualities in manuscripts of the 10th century. For example, these are the manuscripts of the Beatus Morgana, probably the first, the Beatus of Gerona, decorated by the female artist Ende, the Escorial Beatus and the Beatus Saint-Sever, which was actually created at some distance from Muslim rule in France. Mozarabic elements, including a background of bright colored stripes, can be seen in some later Romanesque frescoes.

Hispano-Moorish pottery appeared in the south, apparently mainly for local markets, but Muslim potters later began to migrate to the Valencia region, where Christian overlords sold their luxurious luster pottery to the elite throughout Christian Europe in the 14th and 15th centuries, including including the Popes and the English royal court. Spanish Islamic ivory carvings and textiles were also of very high quality; The peninsula's modern tile and carpet industries owe their origins largely to the Islamic kingdoms.

After the expulsion of Islamic rulers during the Reconquista, a large part of the Muslim population and Christian craftsmen trained in the Muslim style remained in Spain. Mudejar is the term for the works of art and architecture created by these people. The Mudejar architecture in Aragon is recognized as a UNESCO World Heritage Site. The 14th-century Maiden's Patio, built for Pedro of Castile in Seville's Alcazar, is another a shining example. The style can also blend harmoniously with Christian European medieval and Renaissance styles, for example in elaborate wood and stucco ceilings, and Mudejar work often continued to be created for centuries after an area had been transferred to Christian control. .

Al-Maghira ivory box, Madina az-zahra, 968 g, Public domain

Pisan griffin, photo: Memorato,

Page from Beatus Morgan

Hispano-Moorish jug with the Medici coat of arms, 1450-1460

Painting

Romanesque style in painting in Spain

Apse of the Church of Santa Maria in Taulla, Catalan fresco in Lleida, early 12th century, photo: photo: Ecemaml, Creative Commons Attribution-Share Alike 3.0 Unported license

In Spain, the art of the Romanesque period represented a smooth transition from the previous Pre-Romanesque and Mozarabic styles. Many of the best-preserved Romanesque church frescoes that were discovered throughout Europe at the time come from Catalonia. Famous examples are located in the temples of the Val de Boi region; many of them were discovered only in the 20th century. Some of the best examples have been moved to museums, especially in National Museum Art of Catalonia in Barcelona, ​​where the famous central apse of Sant Climent in Taulla and the frescoes from Sihena are located. The finest examples of Castilian Romanesque frescoes are the frescoes at San Isidoro in León, the paintings from San Baudelio de Berlanga, now mostly housed in various museums, including the Metropolitan Museum of Art in New York, and the frescoes from Santa Cruz de -Maderuelo in Segovia. There are also several antependiums (veil or partition in front of the altar) with wood painting and other early panels.

Gothic

The Gothic art of Spain gradually developed from the Romanesque styles that preceded it, guided by external models first from France and then from Italy. Another distinctive aspect was the inclusion of Mudejar style elements. Eventually, Italian influence, from which Byzantine stylistic devices and iconography were borrowed, completely replaced the original Franco-Gothic style. Catalonia was still a prosperous region, where many beautiful altars were created; however, the region declined after the emphasis on trade shifted to the Atlantic following the opening of the American colonies, which partly explains the presence of many medieval remnants there, as there was no money to refurbish Renaissance and Baroque churches.

Early Renaissance

Thanks to important economic and political ties between Spain and Flanders since the mid-15th century, early Renaissance in Spain was strongly influenced by Dutch painting, which led to the emergence of the Spanish-Flemish school of painters. The leading representatives were Fernando Gallego, Bartolomé Bermejo, Pedro Berruguete and Juan de Flandes.

Renaissance and Mannerism

In general, the Renaissance and the Mannerist style that followed it are difficult to classify in Spain due to the combination of Flemish and Italian influences and regional differences.

The main center of influence of the Italian Renaissance, which penetrated into Spain, was Valencia due to its proximity and close ties with Italy. This influence was felt through the import of works of art, including four paintings by Piombo and reproductions of Raphael, as well as the relocation of Italian Renaissance artist Paolo de San Leocadio and Spanish artists who spent time working and studying in Italy. These were, for example, Fernando Yáñez de Almedina (1475-1540) and Fernando Llanos, who demonstrated Leonardo's characteristics in his works, in particular the subtle, melancholic expressions and softness of execution in the modeling of features.

"Pieta" by Luis de Morales

In other regions of Spain, the influence of the Italian Renaissance was less obvious, with a relatively superficial use of methods that combined with previous Flemish methods of work and had Mannerist characteristics, due to the relatively late appearance examples from Italy, since Italian art was already largely Mannerist. Besides the technical aspects, the themes and spirit of the Renaissance were transformed to suit the Spanish culture and religious environment. Consequently, very few classical themes or female nudes were depicted, and the works often demonstrated a sense of pious devotion and religious power, attributes that would remain dominant in much of the art of the Counter-Reformation in Spain throughout the 17th century and beyond.

Famous artists representing Mannerism were Vicente Juan Masip (1475-1550) and his son Juan de Juanes (1510-1579), artist and architect Pedro Machuca (1490-1550) and Juan Correa de Vivar (1510-1566) . However, the most popular Spanish artist early XVII century was Luis de Morales (1510? -1586), Contemporaries called him “The Divine” because of the religious intensity of his paintings. From the Renaissance he also often borrowed soft modeling and simple compositions, but combined them with the precision of detail characteristic of the Flemish style. He portrayed many biblical characters, including the Virgin Mary and Child.

Golden Age of Spanish painting

The Spanish Golden Age, a period of Spanish political dominance and subsequent decline, saw a massive development of art in Spain. The period is said to have begun at some point after 1492 and to have ended either with the Treaty of the Pyrenees in 1659, although in art its beginning is placed before or just before the reign of Philip III (1598-1621), and the end is also attributed to 1660 or later. The style is therefore part of the broader Baroque period in art. While there is significant influence from the great Baroque masters such as Caravaggio and later Rubens, the distinctiveness of the art of the time also included influences that modified typical Baroque characteristics. These included the influence of contemporary Dutch Golden Age painting, as well as the native Spanish tradition, which gave much of the period's art an interest in naturalism, and the avoidance of grandiosity in much Baroque art. Significant early representatives this period - Juan Bautista Maino (1569-1649), who brought a new naturalistic style to Spain, Francisco Ribalta (1565-1628) and Sánchez Cotan (1560-1627), an influential artist who painted still lifes.

El Greco (1541-1614) One of the most individualistic artists of the period, he developed a highly mannerist style based on his origins in the post-Byzantine Cretan school, in contrast to the naturalistic approaches then prevalent in Seville, Madrid and other regions of Spain. Many of his works reflect the silvery grays and bright colors of Venetian artists such as Titian, but they are combined with strange elongation of figures, unusual lighting, elimination of perspective space and filling of surfaces in a very explicit and expressive painterly manner.

Working mainly in Italy, especially Naples, José de Ribera (1591-1652) considered himself a Spaniard, and his style was sometimes used as an example of extreme Counter-Reformation Spanish art. His work was highly influential (largely due to the circulation of his drawings and prints throughout Europe) and showed significant development over the course of his career.

As the gateway to the New World, Seville became cultural center Spain in the 16th century. It attracted artists from all over Europe, eager to receive commissions from throughout the growing empire, as well as from the wealthy city's many religious houses. Starting with the strong Flemish tradition of detailed and smooth brushwork, as shown in the works of Francisco Pacheco (1564-1642), a naturalistic approach developed over time, influenced by Juan de Roelas (c. 1560-1624) and Francisco Herrera the Elder (1590). -1654). This is TV to a greater extent The naturalistic approach, influenced by Caravaggio, became predominant in Seville and formed the training background for three Golden Age masters: Cano, Zurbaran and Velazquez.

Francisco Zurbaran (1598-1664) known for his decisive and realistic use of chiaroscuro in his religious paintings and still lifes. Although it seemed that he was limited in his development, and difficult scenes were difficult for him. Zurbaran's magnificent ability to evoke religious feelings brought him many commissions in conservative Counter-Reformation Seville.

Sharing the influence of the same master painter - Francisco Pacheco- like Velazquez, Alonso Cano (16601-1667) also worked actively with sculpture and architecture. His style moved from his naturalism early period to a more nuanced, idealistic approach, revealing Venetian influences and influences Van Dyck.

Velasquez

Diego Velazquez "Las Meninas", 1656-1657

Diego Velazquez (1599-1660) was a leading artist at the court of King Philip IV. In addition to numerous depictions of scenes of historical and cultural significance, he painted dozens of portraits of the Spanish royal family, other famous European figures, and commoners. In many of his portraits, Velázquez gave dignified qualities to such unattractive members of society as beggars and dwarfs. In contrast to these portraits, Velázquez's gods and goddesses are generally depicted as simple people without divine features. In addition to Velázquez's forty portraits of Philip, he painted portraits of other members of the royal family, including princes, infantas (princesses) and queens.

Late Baroque

Bartolome Esteban Murillo, “The Immaculate Conception of the Virgin Mary (Soult)”

Late Baroque elements emerged as a foreign influence, thanks to Rubens' visits to Spain and the circulation of artists and patrons between Spain and the Spanish possessions of Naples and the Spanish Netherlands. Famous Spanish artists, representatives of the new style - Juan Carreño de Miranda (1614-1685), Francisco Risi (1614-1685) and Francisco de Herrera the Younger (1627-1685), son of Francisco de Herrera the Elder, initiator of the naturalistic emphasis in the school Seville. Other famous Baroque artists: Claudio Coelho (1642-1693), Antonio de Pereda (1611-1678), Mateo Cerezo (1637-1666) and Juande Valdez Leal (1622-1690).

The outstanding painter of this period and the most famous Spanish artist before the recognition of the merits of Velazquez, Zurbaran and El Greco in the 19th century was Bartolome Esteban Murillo(1617-1682). Most He spent his career in Seville. His early works reflected Caravaggio's naturalism, using a muted brown palette, simple but not harsh lighting, and religious themes depicted in natural or home environment, as in his painting The Holy Family with a Bird (c. 1650). He later incorporated elements of the Flemish Baroque of Rubens and Van Dyck into his work. "Immaculate Conception (Soult)" uses a brighter and more radiant palette of colors, with swirling cherubs directing the focus to the Virgin Mary, whose gaze is turned to the sky, and a warm glowing halo spreads around her, making her a spectacular devotional image, an important component of this work; the theme of the Immaculate Conception of the Virgin Mary was presented by Murillo about twenty times.

Spanish art 18th century

"Still Life with Oranges, Flasks and Boxes of Chocolates" by Luis Egidio Melendez

The beginning of the Bourbon dynasty in Spain under Philip V led to great changes in the field of patronage, the new court, oriented towards France, preferred the styles and artists of Bourbon France. Several Spanish artists were employed by the court - a rare exception was Miguel Jacinto Melendez (1679-1734) - and it took some time before Spanish artists mastered the new styles of Rococo and Neoclassicism. Leading European artists, including Giovanni Battista Tiepolo and Anton Raphael Mengs, were active and influential.

Without royal sponsorship, many Spanish artists continued to work in the style baroque when creating religious compositions. This applies to Francisco Baye i Subias (1734-1795), an accomplished master of fresco painting, and Mariano Salvador Maella (1739-1819), both of whom developed in the direction of Mengs' strict neoclassicism. Another important direction for Spanish artists was portrait painting, which was actively pursued by Antonio Gonzalez Velazquez (1723-1794), Joaquin Inza (1736-1811) and Agustin Esteve (1753-1820). But the still life genre could still receive royal support, with artists such as the court painter Bartolomé Montalvo (1769-1846) and Luis Egidio Melendez (1716-1780).

Continuing to work in the Spanish tradition of still life paintings by Sánchez Cotán and Zurbarán, Meléndez created a series of cabinet paintings commissioned by the Prince of Asturias, the future King Charles IV, intended to showcase the full range of food products from Spain. Rather than simply creating formal natural history teaching materials, he uses harsh lighting, low points of view, and heavy compositions to dramatize his subjects. He showed big interest and attention to detail in reflections, textures and highlights of the image (such as the highlights on the patterned vase in Still Life with Oranges, Flasks and Boxes of Chocolates) reflecting the new spirit of the Age of Enlightenment.

Goya

Francisco Goya, "The Third of May 1808"

Francisco Goya was a portrait painter and court painter of the Spanish court, a chronicler of history, and, by his unofficial employment, a revolutionary and visionary. Goya painted portraits of the Spanish royal family, including Charles IV of Spain and Ferdinand VII. His themes range from joyful tapestry holidays, satirical sketches to scenes of war, combat and corpses. Early in his career, he drew sketches of satirical content as templates for tapestries and focused on scenes from Everyday life with bright flowers. During his life, Goya also made several series of "Grabados" - etchings that depict the decline of society and the horrors of war. The most famous series his paintings are Gloomy (Black) Paintings, painted at the end of his life. This series includes works that are dark in both color and meaning, evoking anxiety and shock.

19th century

Frederico Pradilla, “Dona Juana La Loca (Juana the Mad)”

Various artistic movements of the 19th century influenced Spanish artists, largely thanks to them, artists were trained in foreign capitals, particularly Paris and Rome. Thus, neoclassicism, romanticism, realism and impressionism became important movements. However, they were often delayed or transformed by local conditions, including repressive governments and the tragedies of the Carlist Wars. Portraits and historical subjects were popular, and the art of the past - in particular the styles and techniques of Velázquez - was of great importance.

The early part of the century was dominated by the academicism of Vicente López (1772–1850), followed by the neoclassicism of the French artist Jacques-Louis David, for example in the works of José de Madrazo (1781–1859), the founder of an influential line of artists and gallery directors. His son, Federico de Madrazo (1781-1859), was a leading exponent of Spanish Romanticism, along with Leonardo Alenza (1807-1845), Valeriano Domínguez Becker and Antonio Maria Esquivel.

Later came the period of romanticism, represented in the history of painting in the works of Antonio Gisbert (1834-1901), Eduardo Rosales (1836-1873) and Francisco Pradilla (1848-1921). In their works, realism techniques were often used in relation to romantic themes. This can be clearly seen in Dona Juana La Loca, Pradilla's famous early work. The composition, facial expressions and dramatic stormy skies reflect the emotion of the scene; as well as the accurately rendered clothing, dirt textures and other details demonstrate great realism in the artist's attitude and style. Mariano Fortuny (1838-1874) also developed a strong realistic style after being influenced by the French Romantic Eugene Delacroix and becoming a famous artist of his century in Spain.

Joaquin Sorolla, Boys on the Beach, 1910, Prado Museum

Joaquín Sorolla (1863-1923) of Valencia excelled in skilfully representing a people and landscape influenced by sun rays his native land, thereby reflecting the spirit of impressionism in many of his works, in particular in the famous seaside paintings. In his painting "Boys on the Beach" he makes reflections, shadows, the sheen of water and skin his main subject. The composition is very bold, there is no horizon, one of the boys is cropped, and strong diagonals create contrasts, the saturation of the upper left part of the work is increased.

Spanish art and painting 20th century

Juan Gris, "Beer Mug and Playing Cards", 1913, Columbus Museum of Art, Ohio.

In the first half of the 20th century, many leading Spanish artists worked in Paris, where they contributed to the development of the modernist art movement, and sometimes led it. Perhaps the main example is Picasso, who worked with the French artist Braque to create the concept of Cubism; and the sub-movement of Synthetic Cubism was condemned for finding its purest expression in the paintings and collages of Juan Gris, born in Madrid. Likewise, Salvador Dalí became a central figure in the Surrealist movement in Paris; and Joan Miró was highly influential in abstract art.

Picasso's Blue Period (1901-1904), which consisted of dark, tinted paintings, was influenced by a trip through Spain. The Picasso Museum in Barcelona houses many of early works Picasso created while he lived in Spain, as well as the extensive collection of Jaime Sabartes, a close friend of Picasso from his time in Barcelona, ​​who for many years was Picasso's personal secretary. There are many accurate and detailed studies of the images he created in his youth under the tutelage of his father, as well as rare works from his old age, which clearly demonstrate that Picasso's work had a solid foundation in classical methods. Picasso paid his most lasting tribute to Velázquez in 1957 when he recreated his Las Meninas in his cubist style. While Picasso was concerned that if he copied Velázquez's painting it would only look like a copy and not a unique piece, he continued to do so, and the enormous work is the largest he has created since Guernica in 1937 - took a significant place in the Spanish canons of art. Malaga, Picasso's birthplace, is home to two museums with significant collections: the Picasso Museum of Malaga and the Picasso House Museum.

Another period in Spanish Renaissance sculpture - the Baroque - covered last years 16th century, continued in the 17th century and reached its final flowering in the 18th century, creating a truly Spanish school and style of sculpture, more realistic, intimate and creatively independent than the previous one, which was tied to European trends, especially those of the Netherlands and Italy. There were two schools of particular taste and talent: the Seville school, to which belonged Juan Martinez Montañez (the so-called Phidias of Seville), his greatest works being the crucifix in the Cathedral of Seville and another in Vergara and St. John; and the Granadan school, to which Alonso Cano belonged, to whom the Immaculate Conception and Our Lady of the Rosary are attributed.

Other famous sculptors, representatives of the Andalusian Baroque were Pedro de Mena, Pedro Roldan and his daughter Luisa Roldan, Juan de Mesa and Pedro Duque Cornejo.

The Vallaolida school of the 17th century (Gregorio Fernandez, Francisco del Rincon) was replaced in the 18th century by the Madrid school, although it had less brilliance; by the middle of the century it had turned into a purely academic style. In turn, the Andalusian school was replaced by the Murcian school, personified by Francisco Salcillo in the first half of the century. This sculptor is distinguished by originality, fluidity and dynamic processing their works, even those that represented great tragedy. More than 1,800 works are attributed to him, his most famous creations being the sculptures carried out in the Good Friday procession in Murcia, the most notable of which are the Prayer of the Cup and the Kiss of Judas.

In the 20th century, the most prominent Spanish sculptors were Julio Gonzalez, Pablo Gargallo, Eduardo Chillida and Pablo Serrano.

Picture - A dream caused by the flight of a bee around a pomegranate, a second before waking up.
Year of creation - 1944,
Oil on canvas 51× 40.5 cm
Thysenna-Barnemisza Museum, Madrid

If you believe Dali's stories, he was dozing at an easel, holding a key, a brush or a spoon in his hand. When an object fell out and hit a plate that had been placed on the floor in advance, the roar woke up the artist. And he immediately got to work, until the state between sleep and reality disappeared.

Dali said about the painting: “The goal was for the first time to depict the type of long, connected sleep discovered by Freud, caused by an instantaneous impact, from which awakening occurs.”
Freud described it as a dream, the plot of which is caused by some irritant from the outside: the subconscious of the sleeping person identifies this irritant and turns it into images that have a certain resemblance to the source of irritation. If the irritant poses a threat in reality, then in a dream it will take on a threatening appearance, which will provoke awakening.

At the bottom of the picture there is a sleeping naked woman, as if floating above a stone slab, which is washed by the sea. The sea in Dali's work means eternity. Freud compared the human psyche to an iceberg, nine-tenths submerged in the sea of ​​the unconscious.
The woman in the picture is Gala, whom the artist considered his inspiration and second self. She sees the dream depicted in the picture and is on the border of two worlds - the real and the illusory, simultaneously being present in both.
A woman hears a bee buzzing over a pomegranate in her dream. The image of a pomegranate in ancient and Christian symbolism means rebirth and fertility.
“All life-giving biology arises from a bursting pomegranate,” the artist himself commented on the painting.
The subconscious mind signals that the insect may be dangerous, and the brain reacts by conjuring up images of roaring tigers. One animal jumps out of the mouth of another, and then in turn emerges from the open mouth of a fish emerging from a huge pomegranate that hangs over the sleeping one. Sharp claws and teeth are a symbol of fear of the insect's sting, as is a gun with a bayonet that is about to plunge into the woman's hand.

“Bernini’s elephant in the background carries an obelisk and attributes of the pope,” the artist was hinting at a dream about the funeral of the Pope, which Freud had because of the ringing of bells and was cited by a psychiatrist as an example of a bizarre connection between the plot and an external stimulus.
Elephant from Piazza Minerva in Rome, created by a Baroque master Giovanni Lorenzo Bernini as a pedestal for the ancient Egyptian obelisk, Dali later depicted it more than once in paintings and sculpture. Thin jointed legs are a symbol of the fragility and unreality inherent in sleep.

Pablo Picasso, Guernica

Painting - Guernica
Year of creation: 1937.
Canvas, oil. 349 x 776 cm
Reina Sofía Arts Center, Madrid

The painting was painted in May 1937 by order of the government of the Spanish Republic for the Spanish pavilion at the World Exhibition in Paris.
Picasso's expressive canvas became a public protest against the Nazi bombing of the Basque city of Guernica, when several thousand bombs were dropped on the city in three hours; As a result, the population of six thousand Guernica was destroyed, about two thousand inhabitants were trapped under the rubble.

Picasso's painting is full of personal feelings of suffering and violence.
On the right side of the picture, figures are running away from a burning building, from the window of which a woman falls; on the left, a sobbing mother holds her child in her arms, and a triumphant bull tramples a fallen warrior.
The broken sword, the crushed flower and dove, the skull (hidden inside the horse's body), and the crucifixion-like pose of the fallen warrior are all generalized symbols of war and death.
On the hands of the dead soldier are visible stigmata (painful bleeding wounds that open on the body of some deeply religious people - those who “suffered like Jesus.” The bull symbolizes evil and cruelty, and the horse symbolizes the suffering of the innocent.
Some Spaniards interpret the bull, a symbol of traditional Spanish bullfighting, as Spain itself, which turned its back on what was happening in Guernica (a reference to Franco allowing the bombing of his city).
Together, these frantic figures form a kind of collage, silhouetted against a dark background, brightly lit by a woman with a lamp and an eye with a light bulb instead of a pupil. The monochrome painting, reminiscent of newspaper illustrations, and the sharp contrast of light and dark enhance the powerful emotional impact.

Francisco de Goya, Nude Maha

Painting - Nude Maha
Year of creation - 1795-1800.
Canvas, oil. 98x191cm
Prado Museum, Madrid

In the image of Macha, a Spanish townswoman of the 18th-19th centuries, the artist, contrary to strict academic canons, embodied a type of attractive, natural beauty. Maha is a woman whose meaning in life is love. Seductive, temperamental swings personified the Spanish understanding of attractiveness.
Goya created the image of the new Venus of his contemporary society, masterfully showing the youth, lively charm, and mysterious sensuality of the seductive model.
The young woman is depicted against a dark background, so all the viewer’s attention is drawn to the provocative nakedness of her silky skin, which becomes, in fact, the main and only theme of the picture.

By expression French writer and art historian Andre Malraux, this work “is not so much voluptuous as erotic, and therefore cannot leave any more or less sensual person indifferent.”

The painting was commissioned by Manuel Godoy, First Minister of Spain, favorite of Queen Maria Luisa, wife of Charles IV. For a long time he hid it in his office. A second painting was also painted to accompany her - the Dressed Maha, which Godoy hung on top of the Nude.
Apparently, one of the shocked guests denounced the sensualist, and in 1813 the Inquisition confiscated both paintings from Godoy, simultaneously accusing Goya of immorality and demanding that the artist immediately reveal the name of the model who posed for him. Goya, despite any threats, flatly refused to name this woman.
WITH light hand writer Lion Feuchtwanger, author of the novel “Goya, or the Hard Path of Knowledge,” a legend began to circulate around the world that the naked maja was Maria Cayetana de Silva, the 13th Duchess of Alba, with whom the artist allegedly had a love affair.
In 1945, in order to refute this version, the Alba family opened the tomb to measure the duchess's bones and prove that her proportions do not match those of Macha, but since the grave had already been opened and the duchess's body was thrown out by Napoleonic soldiers, in its current state measurements could not be taken.
Currently, most art historians are inclined to believe that the paintings depict Pepita Tudo, Godoy’s mistress.

Diego Velazquez, Meninas

Painting - Las Meninas
Year of creation: 1656.
Canvas, oil. 318 x 276 cm
Prado Museum, Madrid

Probably Las Meninas is the most famous and recognizable painting by the artist, which almost everyone knows. This large canvas is one of best works artist. The picture is impressive in its scale and versatility.

To expand the space, several workshops were used at once artistic techniques. The artist placed the characters in a spacious room, in the background of which a door is visible with a gentleman in black clothes standing on the illuminated steps. This immediately indicates the presence of another space outside the room, visually expanding its size, depriving it of two-dimensionality.

The entire image is slightly shifted to the side due to the canvas facing us with its back side. The artist stands in front of the canvas - this is Velazquez himself. He paints a picture, but not the one we see in front of us, since the main characters are facing us. These are already three different plans. But even this seemed not enough to the master and he added a mirror in which the royal couple is reflected - King Philip IV of Spain and his wife Marianna. They look with love at their only child at that time - Infanta Margarita.

Although the painting is called “Las Meninas,” that is, ladies-in-waiting at the Spanish royal court, the center of the image is the little princess, the hope of the entire family of the Spanish Habsburgs at that time. Five-year-old Margarita is calm, self-confident and even arrogant beyond her age. She looks at those around her without the slightest excitement or change in facial expression, and her tiny childish body is literally encased in the hard shell of a magnificent court dress. She is not embarrassed by the noble ladies - her meninas - who crouch before her in a deep bow according to the stern etiquette accepted at the Spanish court. She is not even interested in the palace dwarf and the jester, who put his foot on the one lying on foreground big dog. This little girl carries herself with all possible grandeur, representing the centuries-old Spanish monarchy.

The background of the room seems to dissolve in a light grayish haze, but all the details of little Margarita’s complex outfit are drawn out in the smallest detail. The artist did not forget himself. Before us appears an imposing middle-aged man, with lush curly locks, in black silk clothes and with the cross of St. Iago on his chest. Because of this symbol of distinction, which could only be received by a purebred Spaniard without a drop of admixture of Jewish or Moorish blood, arose small legend. Since the artist received the cross only three years after painting the canvas, it is believed that the King of Spain himself completed the painting.

El Greco, Burial of Count Orgaz

Painting - Burial of Count Orgaz
Year of creation - 1586-1588.
Canvas, oil. 480 x 360 cm.
Church of Sao Tome, Toledo

The most famous painting by the great and mysterious El Greco belongs to the heyday of his work. By this time, the artist had already developed his own style of painting, which cannot be confused with the styles of other painters.
In 1586, the master began decorating the Church of San Tome in Toledo. The central plot was the legend of the Toledo saint, Don Gonzalo Ruiz, also known as Count Orgaz, who lived in the 13th-14th centuries. A pious, devout Christian, he became famous for his charitable activities, and when he died in 1312, Saint Stephen himself and Blessed Augustine descended from heaven to give the earth a worthy deceased.
The picture is visually divided into two parts: “earthly” and “heavenly”. The strict rhythm of the lower “floor” is contrasted with the baroque “top”. And there, at different heavenly levels, the soul of the count is met by John the Baptist, the Virgin Mary, angels and cherubs. Christ sits in the center. The flying angel is highlighted in white - it is he who lifts the count’s soul to heaven.
Christ, the angel with the departed soul and the nobleman below form a vertical axis. Geometric lines in the construction of the compositions were very characteristic of El Greco.
The expositional climax is shifted to the bottom of the work, to where Stefan and Augustine, bending over, lower Orgas into the ground. The saints are dressed in golden outfits, which echo the figure of the angel and the clothes of Peter in the upper zone. Thus, the artist used gold to connect the heroes of the work, who belong to the heavenly and otherworldly world.

The painting was a huge success in Spain during the artist's time. El Greco was later forgotten and rediscovered by the Impressionists. Expressive emotional work has a huge impact on the viewer. According to eyewitnesses, Salvador Dali even lost consciousness near the canvas. Perhaps this description is exhaustive.

Spain. A country bright sun, warm sea and fine wine. This is a country that has given us many famous names in various fields– in sports, cinema, literature. But Spain can also rightfully be proud of its artists. El Greco, Velazquez, Salvador Dali, Pablo Picasso, Francisco Goya - they all made an invaluable contribution to the development of world painting.

For true connoisseurs of the works of Spanish masters, we offer a 3-day tour of the main museums dedicated to these great people.

1 day. Let's start with the capital and main city of the country - Madrid. Why is he interesting? For example, because here you can find unique works by Francisco Goya. You will be able to visit the church best known as Goya's Pantheon. It is significant in that the master's frescoes have been preserved on its walls. First of all, you should pay attention to the dome of the church, where Goya depicted an unusual religious plot- resurrection from the dead. In addition, the artist decorated the vaults of the chapel with amazing decorative compositions, in which the central place is given to angels. Also here are the remains of the great painter, transferred from France.

Next stop in Madrid is San Francisco El Grande, the temple late XVIII V. Here you will see the painting “The Sermon of Saint Bernardine of Siena”, located in the Chapel of San Bernardino. It is worth taking a closer look at this work: you will see an image of Goya, captured by him at the very last moment before submitting the work.

The remaining time you can devote to walking along the cozy streets of Madrid or getting to know national cuisine in one of the many restaurants in the city.

Day 2. Flight to Barcelona. Another city and another, no less famous artist - Pablo Picasso. It is here that the Picasso Museum is located - the largest collection of the master’s works, where you can enjoy his work, mainly from the early period (from 1895 to 1904).

It is interesting to note that this collection was originally created by the artist’s friend, Jaime Sabartes, after whose death Picasso personally donated more than 2.5 thousand of his works (engravings, drawings, ceramics) to continue his work.

Day 3. From Barcelona you will go to the wonderful city of Figueres (Spanish: Figueres), where the Theater-Museum of the famous surrealist Salvador Dali is located. The journey will take place by train, which will allow you to enjoy the picturesque views of Catalonia. The museum itself is a unique complex, built according to the design of the artist himself on the ruins of the old municipal theater.

According to Dali's plan, it was supposed to be a kind of surreal labyrinth in which visitors could better understand the artist's intentions, as well as break away from their usual reality. In fact, the interior design of the museum combines several architectural styles and various tricks that deceive human vision with the help of optical illusions. In addition, it contains the largest collection of works by the great Spanish genius, not only in painting, but also in sculpture, and even in jewelry.

These are more than pretty pictures, they are a reflection of reality. In the works of great artists you can see how the world and the consciousness of people changed.

Art is also an attempt to create an alternative reality where you can hide from the horrors of your time, or a desire to change the world. The art of the 20th century rightfully occupies a special place in history. The people who lived and worked in those times experienced social upheavals, wars, and unprecedented developments in science; and all this found its mark on their canvases. 20th century artists took part in creating the modern vision of the world.

Some names are still pronounced with aspiration, while others are unfairly forgotten. Someone was so contradictory creative path, that we still cannot give it an unambiguous assessment. This review is dedicated to the 20 greatest artists of the 20th century. Camille Pizarro- French painter. An outstanding representative of impressionism. The artist’s work was influenced by John Constable, Camille Corot, Jean Francois Millet.
Born July 10, 1830 in St. Thomas, died November 13, 1903 in Paris.

Hermitage at Pontoise, 1868

Opera passage in Paris, 1898

Sunset at Varengeville, 1899

Absinthe, 1876

Star, 1877

Woman combing her hair, 1885

Gamblers, 1893

Modern Olympia, 1873

Still life with skulls, 1900

Welk Cliff at Pourville, 1882

After Lunch, 1873-1876

Etretat, sunset, 1883

"Volga", 1890-1895

"North", 1879

"View of the Kremlin from Zamoskvorechye", 1882

Pont des Arts in Paris, 1867

Ball at the Moulin de la Galette, 1876

Jeanne Samari, 1877

Breton landscape, 1894

Breton village in snow, 1888

Are you jealous? 1892

Saints' Day, 1894

Couple riding on horseback, 1918

A colorful life, 1907

Moscow 1, 1916

In grey, 1919

Square in Saint-Tropez, 1904

Outline of Notre Dame at night, 1902

Woman with a Hat, 1905

Dance, 1909

Italian, 1919

Portrait of Delectorskaya, 1934

Overseas guests, 1901

The Great Spirit of the Himalayas, 1923

Message from Shambhala, 1933

“1918 in Petrograd”, 1920

"Boys at Play", 1911

Bathing the Red Horse, 1912

Portrait of Anna Akhmatova

Rest (Society in Top Hat), 1908

"Peasant women with buckets", 1912-1913

Black Suprematist Square, 1915

Suprematist painting, 1916

On the boulevard, 1903

Girl on a ball, 1905

Portrait of Ambroise Vallors, 1910

Three Graces

Portrait of Olga

Dance, 1919

Woman with a flower, 1930

Cellist, 1909

The couple, 1917

Joan Hebuterne, 1918

Mediterranean landscape, 1918

Notre Dame de Paris in the rain, 1909

Woman at the Well, 1913

Union of Peasants and Workers, 1924

Detroit Industry, 1932

Anyuta (Portrait of a Sister), 1910

Bride with a Fan, 1911

Me and the Village, 1911

Adam and Eve, 1912

Untitled

Number 7 or 11

Orange and yellow

Temptation of Saint Anthony, 1946

last supper, 1955

Woman with a Head of Roses, 1935

My wife Gala, naked, looking at her body, 1945

Embrace of Universal Love, Earth, Me, Diego and Coatl, 1949

Moses (Core of Creation), 1945

Two Fridas, 1939

Great Spanish artists in their works touched on topics that concern every person, so their names have remained for centuries. Starting with El Greco, we can distinguish nine such masters who lived from the 16th to the 20th centuries. The highest flowering is the 17th century. Otherwise it is also called Golden. This is the Baroque period.

Sixteenth century

The first to glorify the Spanish school was the Greek Domenico Theotokopoulos (1541-1614), who was nicknamed El Greco in Spain. In those days, fires often burned over heretics. Therefore, secular topics were practically not touched upon. Easel and fresco painting- these are types of illustrations to the Holy Scriptures. But even here great caution had to be exercised. Traditional interpretations were required.

El Greco combines religious themes with a color scheme of amazing beauty and splendor, which anticipates the appearance of Baroque. One of his masterpieces, “Apostles Peter and Paul” (1582-592), is kept in Russia. It depicts a simple illiterate fisherman Peter and the creator of all Christian doctrine, the highly educated Paul, naturally, with the Bible. Christianity in the first centuries won all hearts with its love for people, mercy and simplicity - it was enough just to believe, and any person, educated or not, poor or rich, became a Christian. Spanish artists learned a lot from the painter, who had a unique style associated with eye disease. However, for a long period his painting was forgotten and rediscovered three centuries later.

Baroque - Golden Age

As nowhere else, Catholicism is still strong, moreover, it represents a powerful and formidable force that requires a person to mortify carnal desires and joys and complete immersion in religious rituals. Spanish artists such as José Ribera (1591-1652), (1598-1664), Diego Velázquez (1599-1660) and Bartolomeo Murillo (1617-1682) are the brightest representatives of this period. They are familiar with the work of Caravaggio, who greatly influences them, not with his still lifes, but with his understanding of what death is and how closely it comes into contact with life.

Spanish artists Ribera and Zurbaran

This association is somewhat arbitrary. The paintings of José Ribera (1591-1652) are distinguished by themes associated with martyrdom and naturalism in depicting the suffering of saints and heroes from mythology, as well as sharp contrasts of light and shadow. Francisco Zurbaran (1598-1664) created his best paintings, colored with lyricism, in the 30s of the 16th century. In 1662, he wrote with emotion “Madonna and Child and John the Baptist.”

The bright image of the baby, located in the center of a simple and natural composition, immediately attracts attention, as does the gentle face of the Madonna, and the golden clothes of the kneeling John, at whose feet is a symbolic white sheep. The grown Christ will be the shepherd of a huge flock of those who believe in him. Zurbaran writes only from life - this is his principle, using contrast deep shadows and strong light. Zurbaran was friends with the brilliant artist Diego Velazquez, who helped him with orders. Spanish artists sought to support each other.

Velazquez (1599-1660)

Initially, the Spanish artist Diego Velazquez, living in Seville, worked a lot on genre scenes, as well as on allegorical paintings. But his acquaintance with Italian paintings from the royal collection greatly changed his aesthetic views. It changes the color to soft silver and moves to transparent tones. With great difficulty he manages to get a position as a court painter. But King Philip IV immediately appreciated the young artist’s gift, and he subsequently created portraits of members of the royal family. The pinnacle of his work were two paintings that are still unsolved, so much meaning did the artist put into them. These are “Las Meninas” (1656), that is, the retinue of courtiers for the heirs to the royal throne, and “Spinners” (1658).

At first glance, everything in “Las Meninas” seems simple. In the large room there is a young infanta, surrounded by ladies-in-waiting, a bodyguard, two dwarfs, a dog and an artist. But behind the painter’s back there is a mirror hanging on the wall, in which the king and queen are reflected. Whether the royal couple is in the room or not is one of the mysteries. There are many more of them, enough for a huge article. And not a single riddle has a clear answer.

From Francisco Goya to Salvador Dali

Born in Zaragoza, Goya (1746-1828) became the official court artist, but then lost this position and received the post of vice-director of the Academy of Arts. In any capacity, Goya works hard and quickly, creating cardboard for tapestries, portraits, painting churches, painting paintings for cathedral in Valencia. He works hard and hard all his life, changing as a master, moving from light festive compositions with rich colors to fast and sharp graphics, and if this is painting, then dark and gloomy.

The school of drawing in Spain is not dying, but the next artist of Spanish painting, great master, appears in 1881. This is Picasso. His work is notable for everything. These are the “blue” and “pink” periods, and cubism, and surrealism, and pacifism. Behind all his works there is a subtle irony and a desire to sell. And he knew how to draw. Having created portraits of his beloved during the Cubist period, which sold like hot cakes, for himself he painted her in the style of realism. And only after becoming a wealthy man, he began to allow himself to paint as he wanted.

His work “Don Quixote” (1955) is laconic. The knight himself, his squire, a horse, a donkey and several are depicted. Don Quixote is light and weightless, and Rocinante is almost a bag of bones. In contrast, Sancho on the left is a black, heavy mass. And although both figures stand still, the drawing is full of movement. The lines are energetic, catchy, and full of humor.

The famous Spanish artist Salvador Dali is eccentric. This man had everything for sale. And paintings, and diaries, and books. He made a fortune for himself thanks to the energetic help of his wife, better known as Gala. She was both his muse and manager. Their union was very successful commercially.

Concluding this article on the topic of famous Spanish artists, it must be said that they all had an individuality as bright as the sun of Spain.