Jan van Eyck was one of the greatest revolutionaries in art. He radically changed the way in which men look at the natural world. His artistic achievements were well-known in Renaissance Italy. Vasari, who wrote about Van Eyck a hundred years later, wrongly attributed the discovery of oil painting to him. Only a few years after his death in 1441, Jan van Eyck was being hailed on both sides of the Alps as one of the greatest painter of the age.
Despite Van Eyck’s great fame, little is known of his life except for his last years. For the last 16 years of his life, he worked at the court of Philip the Good, The Duke of Burgundy. The Duke made use of his skills as both painter and diplomat, sending him on numerous secret missions.
The works of Jan van Eyck are celebrated for their visual splendor and precision of detail. Their brilliant colours and magnificent definition are due to Jan’s refinement of the oil-painting technique.
Prezentacija obuhvaća utjecaj antike na renesansnu arhitekturu, konstruktivna rješenja, analizu Tempietta - idealne građevine i analizu renesansne palače Farnese.
Jan van Eyck was one of the greatest revolutionaries in art. He radically changed the way in which men look at the natural world. His artistic achievements were well-known in Renaissance Italy. Vasari, who wrote about Van Eyck a hundred years later, wrongly attributed the discovery of oil painting to him. Only a few years after his death in 1441, Jan van Eyck was being hailed on both sides of the Alps as one of the greatest painter of the age.
Despite Van Eyck’s great fame, little is known of his life except for his last years. For the last 16 years of his life, he worked at the court of Philip the Good, The Duke of Burgundy. The Duke made use of his skills as both painter and diplomat, sending him on numerous secret missions.
The works of Jan van Eyck are celebrated for their visual splendor and precision of detail. Their brilliant colours and magnificent definition are due to Jan’s refinement of the oil-painting technique.
Prezentacija obuhvaća utjecaj antike na renesansnu arhitekturu, konstruktivna rješenja, analizu Tempietta - idealne građevine i analizu renesansne palače Farnese.
Karakteristike renesanse.Na kraju treba da postoji video koji niste u mogucnosti da vidite ali uglavnom je sa yt-a, all about reneissance ili tako nesto :)
41. Zefir, Hlorida in Flora Flora Hlorida Zefir Zefir (topli veter) z dotikom oplaja Hlorido (skromno nimfo zime) in jo z dotikom spremeni v Floro (boginjo večne pomladi. Metamorfozo vidimo že na Hloridi, - iz ust ji rastejo cvetovi. Ta del slike prestavlja simbolično rojstvo in mladost. ( rojstvo duše in prve spremembe le te na zemlji).
42. Venera Venera je bila v rimski mitologiji boginja lepote in ljubezni. Prvotno je veljala za boginjo plodnosti, zaščitnico vrtov in vinogradov. Bila je Jupitrova hči in Vulkanova žena. V grški mitologiji ji, ustreza Afrodita. Njen sin Enej je bil legendarni ustanovitelj antičnega Rima, zato so se Rimljani imeli za njene potomce. Verjeli so tudi, da Venera lahko pripomore k večji plodnosti ljudi. V tem delu je predstavljena kot vladarica vrta. Postavljena je na sredino.
43. Amor Amor (latinsko ljubezen ; tudi Kupid ) je v rimski mitologijio bog ljubezni. Upodablja se kot mladenič, tudi otrok s krili. Ima lok in puščice, s katerimi naj bi streljal na ljudi. Kogar zadene puščica, se takoj zaljubi. Amorjev grški sodobnik je Eros. V tem delu ga najdemo nad Venrinio glavo, med strelanjem v Čistost. Znak za to oz. privoljenje mu daje Venera sama.
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46. Rajski vrt Na splošno rajski vrt predstavljajo različne rože. Poudariti je treba pomaranče, saj na istem drevesu najdemo cvetove in zrele sadeže. Najverjetneje so imeli povezavo tudi z Medičejci – Medica mala (jabolko zdravja). Latinsko ime je podobno imenu naročnikov slike. Enako velja tudi za lovor, ki ga najdemo na skrajnem desnem koncu slike, saj je njegovo latinsko ime Larentius podobno imenu naročnika Lorenza di Pierfancesca de Medici.
76. Michelangelo: Prizori in osebe iz Stare Zaveze- Geneze - poslikava stropa 1508-1512; Zadnja sodba – poslikava oltarne stene;1536-1541, Sikstinska kapela, Rim