Victoria Charles
Список книг автора Victoria CharlesFlowers
Flowers are the centerpiece in the majority of pictorial still-lifes. By painting their colours and forms, artists from Brueghel to O’Keeffe have created symbols for both life and mortality. Van Gogh’s sunflowers, Monet’s water lilies and Matisse’s bouquets are, of course, unforgotten. Most of the works contained in Flowers are true masterpieces, which have often marked whole epochs and styles.
Erotic Drawings
From Michelangelo to Rubens, Degas and Picasso, erotic art has attracted many great masters, who created works that captivate the beholder like few others. In spite of, or maybe even because of, this attraction, erotic art has never failed to evoke controversy, and regularly had to defend itself from charges of pornography. This book guides readers from early portrayals of erotic scenes produced in the 16th and 17th centuries, to contemporary highlights such as Picasso’s sketchbook drawings, encompassing a large variety of styles and techniques.
Dürer
Dürer is the greatest of German artists and most representative of the German mind. He, like Leonardo, was a man of striking physical attractiveness, great charm of manner and conversation, and mental accomplishment, being well grounded in the sciences and mathematics of the day. His skill in draughtsmanship was extraordinary; Dürer is even more celebrated for his engravings on wood and copper than for his paintings. With both, the skill of his hand was at the service of the most minute observation and analytical research into the character and structure of form. Dürer, however, had not the feeling for abstract beauty and ideal grace that Leonardo possessed; but instead, a profound earnestness, a closer interest in humanity, and a more dramatic invention. Dürer was a great admirer of Luther; and in his own work is the equivalent of what was mighty in the Reformer. It is very serious and sincere; very human, and addressed the hearts and understanding of the masses. Nuremberg, his hometown, had become a great centre of printing and the chief distributor of books throughout Europe. Consequently, the art of engraving upon wood and copper, which may be called the pictorial branch of printing, was much encouraged. Of this opportunity Dürer took full advantage. The Renaissance in Germany was more a moral and intellectual than an artistic movement, partly due to northern conditions. The feeling for ideal grace and beauty is fostered by the study of the human form, and this had been flourishing predominantly in southern Europe. But Albrecht Dürer had a genius too powerful to be conquered. He remained profoundly Germanic in his stormy penchant for drama, as was his contemporary Mathias Grünewald, a fantastic visionary and rebel against all Italian seductions. Dürer, in spite of all his tense energy, dominated conflicting passions by a sovereign and speculative intelligence comparable with that of Leonardo. He, too, was on the border of two worlds, that of the Gothic age and that of the modern age, and on the border of two arts, being an engraver and draughtsman rather than a painter.
Dalí
Painter, designer, creator of bizarre objects, author and film maker, Dalí became the most famous of the Surrealists. Buñuel, Lorca, Picasso and Breton all had a great influence on his career. Dalí's film, An Andalusian Dog, produced with Buñuel, marked his official entry into the tightly-knit group of Parisian Surrealists, where he met Gala, the woman who became his lifelong companion and his source of inspiration. But his relationship soon deteriorated until his final rift with André Breton in 1939. Nevertheless Dalí's art remained surrealist in its philosophy and expression and a prime example of his freshness, humour and exploration of the subconscious mind. Throughout his life, Dalí was a genius at self-promotion, creating and maintaining his reputation as a mythical figure.
Chinese Porcelain
The art of porcelain manufacturing is linked closely to China and its history, appearing in the 7th century when it became an important symbol of royalty or high status. The masterpieces of the genre featured in this book range from simple tea bowls and fantastic vases to hair ornaments, figurines and snuff boxes with intricate, multi-coloured designs. The presentations of these fragile objects are accompanied by an informative outline of the history of Chinese porcelain. This delicate material attracted and continues to attract the attention of art lovers throughout the world.
Art Nouveau
Ever since its triumph at the Paris Universal Exposition, Art Nouveau has continued to inspire artists. The movement offered an artistic response to the industrial revolution and the creative vacuum left in its wake, exerting a huge impact on the decorative arts. Art Nouveau spans all forms of expression – including design, painting and architecture – and covers artists such as Gustav Klimt, Koloman Moser, Antoni Gaudí, Jan Toorop, and William Morris.
Vincent van Gogh
Vincent van Gogh’s life and work are so intertwined that it is hardly possible to observe one without thinking of the other. Van Gogh has indeed become the incarnation of the suffering, misunderstood martyr of modern art, the emblem of the artist as an outsider. An article, published in 1890, gave details about van Gogh’s illness. The author of the article saw the painter as “a terrible and demented genius, often sublime, sometimes grotesque, always at the brink of the pathological.” Very little is known about Vincent’s childhood. At the age of eleven he had to leave “the human nest”, as he called it himself, for various boarding schools. The first portrait shows us van Gogh as an earnest nineteen year old. At that time he had already been at work for three years in The Hague and, later, in London in the gallery Goupil & Co. In 1874 his love for Ursula Loyer ended in disaster and a year later he was transferred to Paris, against his will. After a particularly heated argument during Christmas holidays in 1881, his father, a pastor, ordered Vincent to leave. With this final break, he abandoned his family name and signed his canvases simply “Vincent”. He left for Paris and never returned to Holland. In Paris he came to know Paul Gauguin, whose paintings he greatly admired. The self-portrait was the main subject of Vincent’s work from 1886c88. In February 1888 Vincent left Paris for Arles and tried to persuade Gauguin to join him. The months of waiting for Gauguin were the most productive time in van Gogh’s life. He wanted to show his friend as many pictures as possible and decorate the Yellow House. But Gauguin did not share his views on art and finally returned to Paris. On 7 January, 1889, fourteen days after his famous self-mutilation, Vincent left the hospital where he was convalescing. Although he hoped to recover from and to forget his madness, but he actually came back twice more in the same year. During his last stay in hospital, Vincent painted landscapes in which he recreated the world of his childhood. It is said that Vincent van Gogh shot himself in the side in a field but decided to return to the inn and went to bed. The landlord informed Dr Gachet and his brother Theo, who described the last moments of his life which ended on 29 July, 1890: “I wanted to die. While I was sitting next to him promising that we would try to heal him. […], he answered, ‘La tristesse durera toujours (The sadness will last forever).’”
James McNeill Whistler
Whistler suddenly shot to fame like a meteor at a crucial moment in the history of art, a field in which he was a pioneer. Like the impressionists, with whom he sided, he wanted to impose his own ideas. Whistler’s work can be divided into four periods. The first may be called a period of research in which he was influenced by the Realism of Gustave Courbet and by Japanese art. Whistler then discovered his own originality in the Nocturnes and the Cremorne Gardens series, thereby coming into conflict with the academics who wanted a work of art to tell a story. When he painted the portrait of his mother, Whistler entitled it Arrangement in Grey and Black and this is symbolic of his aesthetic theories. When painting the Cremorne Pleasure Gardens it was not to depict identifiable figures, as did Renoir in his work on similar themes, but to capture an atmosphere. He loved the mists that hovered over the banks of the Thames, the pale light, and the factory chimneys which at night turned into magical minarets. Night redrew landscapes, effacing the details. This was the period in which he became an adventurer in art; his work, which verged on abstraction, shocked his contemporaries. The third period is dominated by the full-length portraits that brought him his fame. He was able to imbue this traditional genre with his profound originality. He tried to capture part of the souls of his models and placed the characters in their natural habitats. This gave his models a strange presence so that they seem about to walk out of the picture to physically encounter the viewer. By extracting the poetic substance from individuals he created portraits described as “mediums” by his contemporaries, and which were the inspiration for Oscar Wilde’s The Picture of Dorian Gray. Towards the end of his life, the artist began painting landscapes and portraits in the classical tradition, strongly influenced by Velázquez. Whistler proved to be extremely rigorous in ensuring his paintings coincided with his theories. He never hesitated in crossing swords with the most famous art theoreticians of his day. His personality, his outbursts, and his elegance were a perfect focus for curiosity and admiration. He was a close friend of Stéphane Mallarmé, and admired by Marcel Proust, who rendered homage to him in A La Recherche du Temps Perdu. He was also a provocative dandy, a prickly socialite, a demanding artist, and a daring innovator.
Anthony van Dyck
Van Dyck was accustomed early to Rubens’ sumptuous lifestyle; and, when he visited Italy with letters of introduction from his master, lived in the palaces of his patrons, himself adopting such an elegant ostentation that he was spoken of as ‘the Cavalier Painter’. After his return to Antwerp his patrons belonged to the rich and noble class, and his own style of living was modelled on theirs; so that, when in 1632 he received the appointment of court painter to Charles I of England, he maintained an almost princely establishment, and his house at Blackfriars was a resort of fashion. The last two years of his life were spent travelling on the Continent with his young wife, the daughter of Lord Gowry. His health, however, had been broken by the excesses of work, and he returned to London to die. He was buried at St. Paul’s Cathedral. Van Dyck tried to amalgamate the influences of Italy (Titian, Veronese, Bellini) and Flanders and he succeeded in some paintings, which have a touching grace, notably in his Madonnas and Holy Families, his Crucifixions and Depositions from the Cross, and also in some of his mythological compositions. In his younger days he painted many altarpieces full of sensitive religious feeling and enthusiasm. However, his main glory was as a portraitist, the most elegant and aristocratic ever known. The great Portrait of Charles I in the Louvre is a work unique for its sovereign elegance. In his portraits, he invented a style of elegance and refinement which became a model for the artists of the seventeenth and eighteenth centuries, corresponding as it did to the genteel luxury of the court life of the period. He is also considered one of the greatest colourists in the history of art.
Pablo Picasso
Picasso was born a Spaniard and, so they say, began to draw before he could speak. As an infant he was instinctively attracted to artist’s tools. In early childhood he could spend hours in happy concentration drawing spirals with a sense and meaning known only to himself. At other times, shunning children’s games, he traced his first pictures in the sand. This early self-expression held out promise of a rare gift. Málaga must be mentioned, for it was there, on 25 October 1881, that Pablo Ruiz Picasso was born and it was there that he spent the first ten years of his life. Picasso’s father was a painter and professor at the School of Fine Arts and Crafts. Picasso learnt from him the basics of formal academic art training. Then he studied at the Academy of Arts in Madrid but never finished his degree. Picasso, who was not yet eighteen, had reached the point of his greatest rebelliousness; he repudiated academia’s anemic aesthetics along with realism’s pedestrian prose and, quite naturally, joined those who called themselves modernists, the non-conformist artists and writers, those whom Sabartés called “the élite of Catalan thought” and who were grouped around the artists’ café Els Quatre Gats. During 1899 and 1900 the only subjects Picasso deemed worthy of painting were those which reflected the “final truth”; the transience of human life and the inevitability of death. His early works, ranged under the name of “Blue Period” (1901-1904), consist in blue-tinted paintings influenced by a trip through Spain and the death of his friend, Casagemas. Even though Picasso himself repeatedly insisted on the inner, subjective nature of the Blue Period, its genesis and, especially, the monochromatic blue were for many years explained as merely the results of various aesthetic influences. Between 1905 and 1907, Picasso entered a new phase, called “Rose Period” characterised by a more cheerful style with orange and pink colours. In Gosol, in the summer of 1906 the nude female form assumed an extraordinary importance for Picasso; he equated a depersonalised, aboriginal, simple nakedness with the concept of “woman”. The importance that female nudes were to assume as subjects for Picasso in the next few months (in the winter and spring of 1907) came when he developed the composition of the large painting, Les Demoiselles d’Avignon. Just as African art is usually considered the factor leading to the development of Picasso’s classic aesthetics in 1907, the lessons of Cézanne are perceived as the cornerstone of this new progression. This relates, first of all, to a spatial conception of the canvas as a composed entity, subjected to a certain constructive system. Georges Braque, with whom Picasso became friends in the autumn of 1908 and together with whom he led Cubism during the six years of its apogee, was amazed by the similarity of Picasso’s pictorial experiments to his own. He explained that: “Cubism’s main direction was the materialisation of space.” After his Cubist period, in the 1920s, Picasso returned to a more figurative style and got closer to the surrealist movement. He represented distorted and monstrous bodies but in a very personal style. After the bombing of Guernica during 1937, Picasso made one of his most famous works which starkly symbolises the horrors of that war and, indeed, all wars. In the 1960s, his art changed again and Picasso began looking at the art of great masters and based his paintings on ones by Velázquez, Poussin, Goya, Manet, Courbet and Delacroix. Picasso’s final works were a mixture of style, becoming more colourful, expressive and optimistic. Picasso died in 1973, in his villa in Mougins. The Russian Symbolist Georgy Chulkov wrote: “Picasso’s death is tragic. Yet how blind and naïve are those who believe in imitating Picasso and learning from him. Learning what? For these forms have no corresponding emotions outside of Hell. But to be in Hell means to anticipate death. The Cubists are hardly privy to such unlimited knowledge”.