The document discusses several paintings by Russian artist Mikhail Vrubel from the 1890s-1902 depicting demons. It describes his seminal work "Demon Seated" from 1890 showing a melancholy demon in a desert landscape. It also discusses his illustrations for the poem "The Demon" and his depiction of the demon's tragic story. Later works like "Flying Demon" from 1899 and "Demon Prostrate" from 1902 show the demon's rebellion and fall from power in increasingly dark tones. Vrubel became obsessed with refining these demon paintings until his mental breakdown after finishing "Demon Prostrate".
Stephen Spender’s The Express glorifies the express train. The train here is a symbol of the modern industrial civilization. The glorious running of the train to its destination is vividly pictured by the poet. The movement of the train is like the majestic movements of a queen. The express speeding through the open country is then compared to an elegant ship on ocean.
Stephen Spender’s The Express glorifies the express train. The train here is a symbol of the modern industrial civilization. The glorious running of the train to its destination is vividly pictured by the poet. The movement of the train is like the majestic movements of a queen. The express speeding through the open country is then compared to an elegant ship on ocean.
The life and works of Albrecht Durer (147-1528). The first self-conscious artistic genius in northern European art; painter, draughtsman, printmaker in both relief and intaglio, theoretician and would-be refromer of art. Through his woodcuts and engravings, most of them published by himself, he became an international figure, supplying iconographic models to artists throughout Europe and as far away as Persia, and setting new standards of technical mastery. From within his own German/Netherlandish Gothic heritage, with its interest in the particular, he sought to learn the general laws enshrined in Italian art; the laws of optics, the ‘rules’ of ideal beauty and harmony. His own work ultimately succeeded in synthesizing these two traditions….” The Yale Dictionary of Art & Artists.
Albrecht Durer was the greatest artist of the Northern Renaissance. He experimented in many media, and is as well-known for his delicate watercolours of animal and plant life as for the dramatic woodcuts and exquisite engravings on religious themes, which brought him fame in his own to,e/ His art is blend of Northern and Southern traditions, profoundly influenced by the Venetian painting he saw during his visits to the city. Durer was an independent man, proud of his appearance and very sure of his talent. Intelligent and cultured, he mixed with humanists and scholars, while his patrons included the Holy Roman Emperor Maximilian I. A religious man throughout his life, in later years he became increasingly preoccupied with the advent of the Lutheran Reformation. He died in 1528 and was buried in his home town of Nuremberg. The Great Artist vol 3 p801.
The life and works of Albrecht Durer (147-1528). The first self-conscious artistic genius in northern European art; painter, draughtsman, printmaker in both relief and intaglio, theoretician and would-be refromer of art. Through his woodcuts and engravings, most of them published by himself, he became an international figure, supplying iconographic models to artists throughout Europe and as far away as Persia, and setting new standards of technical mastery. From within his own German/Netherlandish Gothic heritage, with its interest in the particular, he sought to learn the general laws enshrined in Italian art; the laws of optics, the ‘rules’ of ideal beauty and harmony. His own work ultimately succeeded in synthesizing these two traditions….” The Yale Dictionary of Art & Artists.
Albrecht Durer was the greatest artist of the Northern Renaissance. He experimented in many media, and is as well-known for his delicate watercolours of animal and plant life as for the dramatic woodcuts and exquisite engravings on religious themes, which brought him fame in his own to,e/ His art is blend of Northern and Southern traditions, profoundly influenced by the Venetian painting he saw during his visits to the city. Durer was an independent man, proud of his appearance and very sure of his talent. Intelligent and cultured, he mixed with humanists and scholars, while his patrons included the Holy Roman Emperor Maximilian I. A religious man throughout his life, in later years he became increasingly preoccupied with the advent of the Lutheran Reformation. He died in 1528 and was buried in his home town of Nuremberg. The Great Artist vol 3 p801.
A R T O F T H E M I D D L E A N D L A T E
1 9 T H C E N T U R Y
Realism in Painting and
Literature
Learning Objectives
To understand the forces which led to the
development of the Realist style
To recognize the major characteristics of Realist
painting
To be able to identify the major subjects of Realist
painting and literature
Realism in Painting
In part due to the impact of photography, the Realist painters wanted to branch
away from fantastic or Romanticized representation of life and nature and
instead strove to depict real-life events with real-life detail.
Realists tried to move away from their own feelings and ideas and instead
represent life as it actually was – not filtered through just one person’s
understanding or emotion. They wanted to represent life without any
embellishments and this meant even dealing with its ugly, dirty, or low sides.
Ultimately, they aimed for objective rather than subjective representation.
They were also concerned with contemporary events – with the here and now
rather than some romanticized past or utopian future.
The subject matter consists almost exclusively of the lower classes and rural poor.
Realists tried to convey the idea that ordinary people in modern times, not
archaic gods or kings and queens, were the proper subject for modern art.
The Realists also generally refused to use traditional iconography in their
paintings, such as Biblical allusions, mythological subjects, or complex symbols.
Gustave Courbet (1819-1877)
Courbet was one of the leading figures in this shift away from Romantic,
sublime, and idealized art toward a more true-to-life style in painting. He,
like most Realists, was also a social activist on the side of the working classes.
What follows are a few quotes from Courbet that reveal his new approach to
painting and which reinforce the characteristics on the previous slide:
“To be able to translate the customs, ideas, and appearances of my time as I
see them – in a word, to create a living art this has been my aim…”
“The art of painting can consist only in the representation of objects visible
and tangible to the painter…[who must apply] his personal faculties to the
ideas and the things of the period in which he lives…”
“I hold also that painting is an essentially concrete art, and can consist only
of the representation of things both real and existing…An abstract object,
invisible or nonexistent, does not belong to the domain of painting”
“A painter should paint only what he can see.” When asked why he never
painted angels, Courbet replied, “Show me an angel, and I’ll paint one.”
Courbet
Self-Portrait
1848
Here is Courbet’s self-portrait. You can tell he
has not tried to create an idealized image of
himself or an overly sentimental image either. It
is simply what he sees in the mirror – for better
or for worse!
Gustave Courbet The Stone-Breake.
big and small, lined and soft, round and angular
of felt or velvet
adorned with fur, embroidery, gorgeous bird feathers, ribbons, stones according to the owner’s fortune
grands et petits, doublés et doux, ronds et angulaires,
en feutre ou en velours,
ornés de fourrure, broderies, plumes d'oiseaux magnifiques, de rubans, pierreries selon la fortune du propriétaire ...
Recognised as the most beautiful woman in the Mediterranean civilisations, hers was the face that launched a thousand ships and inspired the legends ...
Rückenfigur ... back figure in paintings.ppsxguimera
Wanderer above the Sea of Fog is perhaps the most iconic Rückenfigur in German Romantic painting …
Rückenfigur, the back-figure is a pictorial theme with significant power.
Rückenfigur ... back figure in paintings
Rückenfigur ... figure de dos dans la peinture.ppsxguimera
Le Voyageur contemplant une mer de nuages est probablement la Rückenfigur la plus emblématique de la peinture romantique allemande ...
Rückenfigur, la figure de dos est un thème pictural d'une grande puissance.
Has been depicted
in mythological and religious paintings, in still life, vanities, allegories, in the genre painting.
From Caravaggio and Rubens to Millet, through Vermeer, Delacroix, Manet, Moreau …
Panier en osier dans la peinture européenne.ppsxguimera
A été représenté
dans les peintures mythologiques et religieuses, les natures mortes, vanités, allégories, dans la peinture de genre.
Du Caravage et Rubens à Millet, en passant par Vermeer, Delacroix, Manet, Moreau ...
The Art of Rain_The beauty of rain in paintings..ppsxguimera
The beauty of rain in paintings.
expected or feared, delicate or stormy, metaphorical or very real, the rain has often entered the imagination of artists ...
L’art de la pluie_La beauté de la pluie dans la peinture..ppsxguimera
La beauté de la pluie dans la peinture.
espérée ou redoutée, fine ou orageuse, métaphorique ou bien réelle, la pluie s’est souvent invitée dans l’imaginaire des artistes ...
Medea and the beautiful Argonaut,
the first human Cain
Romulus and Remus nursed by the same she-wolf,
Vulcan who loves Venus who loves Mars
Eve and the Apple of the Tree of Temptation
and
the most human of emotions that inspired the painters
La jalousie dans la peinture européenne.ppsxguimera
Médée et le bel Argonaute,
le premier humain Caïn
Romulus et Remus nourris au sein de la même louve,
Vulcain qui aime Vénus qui aime Mars
Ève et la pomme de l'arbre de la tentation
et
la plus humaine des émotions qui a inspiré les peintres
créatures mi-hommes, mi-chevaux, habitant les forêts et les montagnes
violents et sauvages, avec une morale brutale, et un amour immodéré pour le vin et les femmes
Explore the multifaceted world of Muntadher Saleh, an Iraqi polymath renowned for his expertise in visual art, writing, design, and pharmacy. This SlideShare delves into his innovative contributions across various disciplines, showcasing his unique ability to blend traditional themes with modern aesthetics. Learn about his impactful artworks, thought-provoking literary pieces, and his vision as a Neo-Pop artist dedicated to raising awareness about Iraq's cultural heritage. Discover why Muntadher Saleh is celebrated as "The Last Polymath" and how his multidisciplinary talents continue to inspire and influence.
Hadj Ounis's most notable work is his sculpture titled "Metamorphosis." This piece showcases Ounis's mastery of form and texture, as he seamlessly combines metal and wood to create a dynamic and visually striking composition. The juxtaposition of the two materials creates a sense of tension and harmony, inviting viewers to contemplate the relationship between nature and industry.
2137ad Merindol Colony Interiors where refugee try to build a seemengly norm...luforfor
This are the interiors of the Merindol Colony in 2137ad after the Climate Change Collapse and the Apocalipse Wars. Merindol is a small Colony in the Italian Alps where there are around 4000 humans. The Colony values mainly around meritocracy and selection by effort.
2137ad - Characters that live in Merindol and are at the center of main storiesluforfor
Kurgan is a russian expatriate that is secretly in love with Sonia Contado. Henry is a british soldier that took refuge in Merindol Colony in 2137ad. He is the lover of Sonia Contado.
21. VRUBEL, Mikhail
Tamara and Demon
1890-1891
Black water colour on paper..Illustration
to M. Lermontov`s poem The Demon.
The Tretyakov Gallery, Moscow
22. VRUBEL, Mikhail
Tamara and Demon (detail)
1890-1891
Black water colour on paper..Illustration
to M. Lermontov`s poem The Demon.
The Tretyakov Gallery, Moscow
23. VRUBEL, Mikhail
Tamara and Demon (detail)
1890-1891
Black water colour on paper..Illustration
to M. Lermontov`s poem The Demon.
The Tretyakov Gallery, Moscow
24.
25. VRUBEL, Mikhail
Head of the Demon.
1890-1891
Black water colour, tempera white, on
paper. Illustration to M. Lermontov`s
poem The Demon.
The Museum of Russian Art, Kiev
26. VRUBEL, Mikhail
Head of the Demon (detail)
1890-1891
Black water colour, tempera white, on
paper. Illustration to M. Lermontov`s
poem The Demon.
The Museum of Russian Art, Kiev
27. VRUBEL, Mikhail
Head of the Demon (detail)
1890-1891
Black water colour, tempera white, on
paper. Illustration to M. Lermontov`s
poem The Demon.
The Museum of Russian Art, Kiev
28. VRUBEL, Mikhail
Head of the Demon (detail)
1890-1891
Black water colour, tempera white, on
paper. Illustration to M. Lermontov`s
poem The Demon.
The Museum of Russian Art, Kiev
29.
30. VRUBEL, Mikhail
Demon and Angel with Tamara's Soul.
1891
Black water colour, whitewash on paper.
Illustration to M. Lermontov`s poem The
Demon.
The Museum of Russian Art, Erevan
31. VRUBEL, Mikhail
Demon and Angel with Tamara's Soul
(detail)
1891
Black water colour, whitewash on paper.
Illustration to M. Lermontov`s poem The
Demon.
The Museum of Russian Art, Erevan
32. VRUBEL, Mikhail
Demon and Angel with Tamara's Soul
(detail)
1891
Black water colour, whitewash on paper.
Illustration to M. Lermontov`s poem The
Demon.
The Museum of Russian Art, Erevan
33. VRUBEL, Mikhail, Featured Paintings in Detail (2)
(Vrubel's Demon)
images and text credit www.
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34. Michael Lermontov
The Angel
1831
At midnight an angel was crossing the sky,
And quietly he sang;
The moon and the stars and the concourse of
clouds
Paid heed to his heavenly song.
He sang of the bliss of the innocent souls
In heavenly gardens above;
Of almighty God he sang out, and his praise
Was pure and sincere.
He bore in his arms a young soul
To our valley of sorrow and tears;
The young soul remembered the heavenly song
So vivid and yet without words.
And long did it struggle on earth,
With wondrous desire imbued;
But none of the tedious songs of our earth
Could rival celestial song.
35. The Demon, as presented in art, has become a theme often employed to represent a madness that has
developed within the artist. This demon can serve as both a muse and a destructive force for the artist
who cannot find a means to control it.
36. In 1884, the famous art historian Adrian Prakhov, who supervised the re-construction of the old and
construction of the new cathedrals in Kiev, invited Vrubel to take part in the restoration of the Old Russian
murals and mosaics in the 12th century Church of St. Cyril. The knowledge Vrubel acquired in the process of
this work contributed to the perfection of his style as a painter.
In the Kiev period the personal style Vrubel was formed, the key feature assimilates which one - creation of
effect of a scintillation of crystalline edges of the form that compares the pictures of the artist with mosaics.
In Kiev Vrubel started to work on the theme of the Demon. The Kiev versions of the Demon, both the pictures
and sculptures, have not survived. In fact, Vrubel did not take pains to preserve his works, being more
interested in the process of creation than in the result.
During his first year in Moscow, Vrubel went on working on the paintings he had conceived in Kiev. Among
others are the Demon Seated (1890) and a series of illustrations for Mikhail Lermontov’s poem The Demon
(1890) and his novel A Hero of Our Time (1890-1891). The illustrations made his name known to the public but
brought him notoriety rather than fame: too unusual for the tastes of 1880s, they caused bewilderment and
derision. But in the artistic circles of Russia, Vrubel was received favorably.
37. The Demon is one of Vrubel’s most favorite images. He is sick and tired of doing evil, yet goodness is a thing alien to him.
Immortal – he has no future, omniscient – he is without peers, omniscient – he is denied choice.
38. In the Demon Seated of 1890 the Demon sits in melancholy contemplation in the midst of a cold and endless desert. He is a mighty and strong spirit,
suffering in a body so powerful it seems hewn out of rock. The tragedy of the Demon is the tragedy of the artist himself, protesting the collapse of his
romantic illusions.
In the picture Demon Seated the young Titan is depicted on a clifftop in the sunset. His fine powerful body seems almost too big for the picture; he wrings
his hands; his face is touchingly handsome; and his eyes express inhuman sorrow. Vrubel's Demon is a union of opposites: beauty, majesty, strength, and
constraint, helplessness and yearning. He is surrounded by a fabulous, beautiful, yet petrified and cold world. The picture's colouring is also full of
contrasts: a cold lilac is in 'combat' with a warm golden-orange. The rocks, the flowers and the figure are painted in a peculiar Vrubelesque manner: the
artist seems to hew the shapes from a block, creating an impression of a world composed of precious stones.
39. In 1891 Vrubel did the illustrations for a jubilee edition of Mikhail Lermontov's works, edited by Konchalovsky. Of thirty illustrations half of them refer
to Lermontov's Demon. In fact, these are all works of art in their own right, important in the history of Russian book illustrations, and demonstrate
Vrubel's profound comprehension of Lermontov's poetry.
Of course, the story is steeped in tragedy. The demon falls in love with a human woman named Tamara and he loses her. The figure of the demon
himself is tragic: he’s more powerful than but utterly unlike those around him, and through his experiences he loses faith in humanity.
Particularly noteworthy is the monumental watercolor «Head of the Demon». Against a background of stony and snow-covered mountaintops is a
close-up head, with black hair and a pale face: the lips are parched, the eyes burning and penetrating; this gaze is full of unbearable torment, it
expresses a thirst for knowledge and freedom, the rebellious spirit of doubt.
40. Some years later Vrubel painted «Flying Demon» (1899) — a sombre picture, full of a foreboding of ruin and doom. Was conceived as the
culminating work of the Demon theme, but did not become such in actuality and is perceived instead as a prologue to Demon Prostrate (1902).
The proud flight above the world ended in a tragedy of loneliness and repudiation of the hero. The entire canvas is rendered in dark tones; the
mystical light that lit Demon Seated has been extinguished, and the image has taken on a heavy inertia, petrified, which in combination with
the horizontally elongated composition led to a contradiction of the very theme of flight. Flying Demon seems to touch the peaks of mountains.
The figure's movement is hindered by the fantastic weight of his warped wings. The flight creates a feeling of the Demon's tormented
imprisonment, like a billowing cloud that encounters the resistance of the elements.
41. Finally, in 1901-02, appeared the last picture: Demon Prostrate, on wich Vrubel worked intensively and painstakingly.
Exhibited in 1902, the painting overwhelmed the audience and won real fame for the artist. The painting, charged with motion, is strongly decorative.
Striving to create the astounding effect, Vrubel, who at the time, was already unbalanced, repainted the Demon’s face, his sinister eyes, his lips, twisted
by pain. He repeatedly repainted the picture even when it was on display until he had one of his breakdowns.
The broken, deformed body of the Demon, his wings fractured, is flung out in a gorge, and his eyes burn with fury. It is dusk and the last sunray flashes
on the Demon's crown and on the mountain-tops. The spirit of rebellion is overthrown, but not crushed.
Shortly after finishing his Demon Prostrate (Demon Overthrown), Mikhail Vrubel fell seriously ill and was admitted to hospital.