Trovati 2344 documenti.
Trovati 2344 documenti.
Abstract: With his signature graphic style, embrace of figural distortion, and bold defiance of conventional norms of beauty, Egon Schiele was one of the leading figures of Austrian Expressionism. He was an Austrian painter, a protégé of Gustav Klimt and important figurative painter of the early 20th century. The twisted body shapes and the expressive line that characterize his paintings and drawings mark the artist as one an earliest exponent of Expressionism. In Schiele's early years, he was strongly influenced by Klimt and Kokoschka but soon evolved into his own characteristic style. He focused on portraits of others as well as himself. In his later years, while he still worked often with nudes, they were done in a more realist fashion. Schiele made many drawings, some of which were extremely erotic. During his short but highly prolific career which ended with his premature death, Schiele created more than three thousand works on paper and approximately 300 paintings.
Abstract: Felicien Rops was a Belgian artist who spent most of his life in Paris. He worked in many mediums and was also a master printmaker utilizing various techniques. Many of Rops's etchings are deeply erotic and depict an imaginary underworld or subjects of social decadence. His art is dark and surreal, often mingling life, sex and satanic elements. His style is more often described as Decadent, Symbolist, and a precursor to the Expressionist.
Abstract: Although I am familiar with Rembrandt's work, through photographs and black and white reproductions, I invariably experience a shock from the colour standpoint whenever I come in touch with one of his pictures. I was especially struck with that masterpiece of his at the Hermitage, called the Slav Prince, which, by the way, I am convinced is a portrait of himself; any one who has had the idea suggested cannot doubt it for a moment; it is Rembrandt's own face without question. The reproductions I have seen of this picture, and, in fact, of all Rembrandt's works, are so poor and so unsatisfactory that I was determined, after my visit to St. Petersburg, to devise a means by which facsimile reproductions in colour of Rembrandt's pictures could be set before the public. The black and white reproductions and the photographs I put on one side at once, because of the impossibility of suggesting colour thereby.
Abstract: Le città sono lo specchio dei nostri tempi: caotiche, inquinate, poco attraenti. Ma qual è la città? Come si evolveranno nel prossimo futuro? Come potranno cambiare per vincere le difficili sfide dei prossimi decenni? Il testo descrive i criteri di base per l'analisi del territorio urbano e propone una serie di linee guida per le misure da applicare al progetto per la necessaria trasformazione delle città, per permettere alle generazioni future una vita dignitosa, ricca di opportunità di crescita personale e collettiva: una vita tranquilla in armonia con i principi di democrazia e di uguaglianza che dovrebbe caratterizzare la società occidentale. (Ri) Progettare città è il trasferimento su carta di una serie di conferenze di Stefano de Angelis e Maria Mazza sul futuro delle città. Le città sono diventate l'ambiente di riferimento per tutta la popolazione del nostro pianeta. Quindi dovremmo prestare attenzione alle nostre città e renderle luoghi stimolanti in sintonia con la nostra vita e i nostri sogni.
Abstract: Francisco de Goya was the most potent and creative Spanish artist of his time. Over the course of his long career, Goya moved from cheerful and optimistic to totally pessimistic and searching in his paintings, drawings, etchings, and frescoes. He completed some 500 oil paintings and murals, about 300 etchings and lithographs, and many hundreds of drawings. He was exceptionally versatile and his work expresses a very wide range of emotion. His technical freedom and originality likewise are remarkable. In technique as in content, Goya challenged the rules of art, preferring a freer style of painting and drawing, a unique figural language, and a brilliant economy of means. In his own day he was chiefly celebrated for his portraits, of which he painted more than 200; but his fame now rests equally on his other work.
Abstract: Paul Gauguin was French painter, sculptor, and printmaker. His style developed from Impressionism through a brief cloisonnist phase towards a highly personal brand of Symbolism, which sought within the tradition of Pierre Puvis de Chavannes to combine and contrast an idealized vision of primitive Polynesian culture with the sceptical pessimism of an educated European. A self-consciously outspoken personality and an aggressively asserted position as the leader of the Pont-Aven group made him a dominant figure in Parisian intellectual circles in the late 1880s. His use of non-naturalistic colour and formal distortion for expressive ends was widely influential on early 20th-century avant-garde artists.
Abstract: Dante Gabriel Rossetti was an English poet, illustrator, painter and translator. He founded the Pre-Raphaelite Brotherhood in 1848 with William Holman Hunt and John Everett Millais, and was later to be the main inspiration for a second generation of artists and writers influenced by the movement, most notably William Morris and Edward Burne-Jones. His work also influenced the European Symbolists and was a major precursor of the Aesthetic movement. Rossetti's art was characterised by its sensuality and its medieval revivalism. Rossetti gave up oil painting after 1860 and thereafter worked mainly with water colors in small format, which sold well thanks to the sympathetic art critic John Ruskin, whom he had met in 1854. In 1860, he married his long-time model Elizabeth Eleanor Siddal. This feminine ideal of the Preraffaelites was Rossetti's muse and source of inspiration until her suicide in 1862.
Abstract: The acknowledged predecessor of Expressionism, Norwegian painter and printmaker Edvard Munch is renowned for his representations of emotions. Associated with the international development of Symbolism, Munch experimented with many different themes, palettes, and styles of drawing. Though stylistically influenced by Paul Gauguin and the Nabis, Munch's subjects are drawn from his Scandinavian roots and his own tortured psyche. Often reworking his paintings into etchings and lithographs, Munch was one of the major graphic artists of the 20th century—he took an experimental approach to printmaking and contributed to the revival of the woodcut.
Abstract: François Boucher was a French painter, a proponent of Rococo taste, known for his idyllic and voluptuous paintings on classical themes, decorative allegories representing the arts or pastoral occupations, intended as a sort of two-dimensional furniture. He was perhaps the most celebrated decorative artist of the 18th century. He also painted several portraits of his illustrious patroness, Madame de Pompadour. His name, along with that of his patron Madame de Pompadour, had become synonymous with the French Rococo style.
Abstract: Henry Fuseli is famous for his paintings and drawings of nude figures caught in strained and violent poses suggestive of intense emotion. He also had a affinity for inventing chilling fantasies. His sketches or designs numbered about 800; they have admirable qualities of invention and design, and are frequently superior to his paintings. In his drawings, as in his paintings, his method included deliberately exaggerating the due proportions of the parts and throwing his figures into contorted attitudes. He rarely drew the figure from life, basing his art on study of the antique and Michelangelo. He produced no landscapes and painted only two portraits. Fuseli was largely neglected after his death until his rediscovery in the early 20th century by Expressionist painters and Surrealist artists, who admired his romantic subjectivity, complex symbolism and bold composition.
Abstract: Paul Cézanne was the leading figure in the revolution toward abstraction in modern painting. His influence on the course of modern art, particularly on the development of cubism, is enormous and deep. In his early career, he was strongly influenced by Delacroix and Courbet. Through Pissarro, Cezanne came to know Manet and the Impressionist painters. He exhibited with the Impressionists in 1874, but eventually rejected what he considered the Impressionists' lack of structure. Cezanne sought to "recreate nature" by simplifying forms to their basic geometric equivalents, utilizing contrasts of colour and considerable distortion to express the essence of landscape, still-lifes, and figural groupings. Instead of adhering to the traditional focalized system of perspective, he portrayed objects from shifting viewpoints. Cezanne worked in oil, watercolour, and drawing media, often making several versions of his works.
Abstract: Mary Cassatt was an American impressionist painter who depicted the lives of women, chiefly the intimate bond between mother and child. Her works are painted with quick brushstrokes in a pastel palette. Invited in 1877 by her friend and mentor Edgar Degas, Cassatt was one of three women—and the only American—to join a group of artists later known as the Impressionists, which included Claude Monet and Camille Pissaro. Influenced by the Japanese prints she collected, Cassatt developed a refined drawing style that blended European and Asian effects, increasingly creating figural compositions, like The Letter (1890), with flattened forms and harmonious color combinations.
Abstract: Eugene Delacroix was the greatest French painter of the Romantic Movement. Delacroix's output was enormous. After his death his executors found more than 9,000 paintings, pastels, and drawings in his studio and he prided himself on the speed at which he worked, declaring 'If you are not skilful enough to sketch a man falling out of a window during the time it takes him to get from the fifth storey to the ground, then you will never be able to produce monumental work.' Among great painters he was also one of the finest writers on art. He was a voluminous letter writer and kept a journal from 1822 to 1824 and again from 1847 until his death - a marvelously rich source of information and opinion on his life and times. His influence, particularly through his use of color, was prodigious, inspiring Renoir, Seurat, and van Gogh among others. Van Gogh wrote about him: 'Only Rembrandt and Delacroix could paint the face of Christ.'
Abstract: Amedeo Modigliani was the essence of a tragic artist. He sketched furiously, sometimes drawing over 100 sketches in a day, but many of his works were lost, given away, or in some cases, destroyed by Modigliani himself. His favorite subject was by far the human form, painting the likenesses of other artists, such as Pablo Picasso, Diego Rivera, Max Jacob, and Juan Gris, who all sat for the artist. His formal works are characterized an elongation of the human form and mask-like faces, and his work is so unlike any other of his time that it still defies classification. During his time, other artists imitated him by engaging in a self-destructive lifestyle, and still today, his fame lives on in 9 novels and dozen films.
Abstract: Giambattista Tiepolo was the last of the great Venetian decorators, the purest exponent of the Italian Rococo, and arguably the greatest painter of the 18th century. Tiepolo was equally prized as a draftsman: his powers of invention were boundless and his facility without equal. His enormous output of frescoes and altarpieces was partly due to his practice (like Rubens before him) of painting small 'modelli' which, when approved by the client, could be carried out by his skilled assistants under his own supervision. Scores of these modelli and sketches survive, together with hundreds of drawings. He painted very few portraits. He also etched many plates, and, with Marco Ricci, was one of the founders of the great school of 18-century Venetian etchers.
Abstract: One of the most brilliant and original artists of the eighteenth century, Antoine Watteau had an impact on the development of Rococo art in France and throughout Europe lasting well beyond his lifetime. Living only thirty-six years, Watteau nonetheless rose from an obscure provincial background to achieve fame in the French capital. He clearly had a genuine love of music. His drawings of those playing and listening offer uncanny portraits of the way it can heighten emotions. Equally, the play of light he orchestrates on fine fabrics, on children's skin or on various elements of his landscapes, provides a startling anticipation of the Impressionists. He is the inventor of la fête galante, a genre that shows the bourgeoisie at play outdoors. Many of the models were Watteau's own friends: Parisian actors and musicians he often drew. His drawing ability remains spectacular. But even more startling is his modernity.
Abstract: Un buon edificio produce oggi tanta energia quanta ne consuma, non produce rifiuti, assicura un ambiente confortevole, è il risultato di un processo di progettazione complesso e responsabile, che integra integra concettualità, estetica e tecnica con un elevato grado di coerenza. Il testo è un manuale per studenti di architettura, ma anche per chiunque sia interessato a comprendere il processo di progettazione di un edificio contemporaneo attraverso uno strumento di verifica chiara e semplice. Progettare un edificio è la traduzione su carta di due cicli di corsi di tecnologia architettonica tenuto da Stefano De Angelis presso il Politecnico di Milano. Il ciclo di conferenze è stato poi sviluppato da SdA in modo da trasmettere quei principi di base necessari per la progettazione di edificio avanzato, duraturo, di facile manutenzione e dai ridotti consumi, in pillole concettuali facilmente digeribili.
Abstract: Jean Baptiste Camille Corot was French painter and draftsman. Of the painters classed in the Barbizon school it is probable that Corot will live the longest, and will continue to occupy the highest position. In his first style he painted traditionally and "tight" — that is to say, with minute exactness, clear outlines, and with absolute definition of objects throughout. After his fiftieth year his methods changed to breadth of tone and an approach to poetic power, and from 1865 onward, his manner of painting became full of "mystery" and poetry. In artistic circles of Paris he was acknowledged as one of the five or six greatest landscape painters the world has ever seen, along with Hobbema, Claude, Turner and Constable. Besides landscapes, of which he painted several hundred, Corot produced a number of figure pictures which are much prized but he executed a few etchings and pencil sketches.
Abstract: Ingres's style was formed early in life and changed comparatively little. His earliest drawings, such as the Portrait of a Man (1797) already show a suavity of outline and an extraordinary control of the parallel hatchings which model the forms. His portrait drawings, of which about 450 are extant, are today among his most admired works. While a disproportionate number of them date from his difficult early years in Italy, he continued to produce portrait drawings of his friends until the end of his life. Ingres drew his portrait drawings on wove paper, which provided a smooth surface very different from the ribbed surface of laid paper, which is, nevertheless, sometimes referred to today as "Ingres paper". Drawings made in preparation for paintings, are more varied in size and treatment than are the portrait drawings. He also drew a number of landscape views while in Rome but, with the exception of the small tondo Raphael's Casino, he painted no pure landscapes.