Russian Actors » the artist painting http://actorsrussian.com Biographies of famous Russian actors, artists and educators. Tue, 25 Jan 2011 21:30:58 +0000 en hourly 1 http://wordpress.org/?v=3.1.1 Biography Chernetsov http://actorsrussian.com/biography-chernetsov.html http://actorsrussian.com/biography-chernetsov.html#comments Tue, 01 Jun 2010 15:21:22 +0000 admin http://actorsrussian.com/biography-chernetsov.html Chernetsova, Russian artists are 1-st half of 19 century, brothers: Grigory Chernetsov (12 (24) .11.1802 – 08 (20) .06.1865), painter and graphic artist. He studied at the St. Petersburg AX (1819 – 1827) by MH Vorobyov. Together with his brother H. G. Chernetsov traveled along the Volga (1838), for Europe and the Middle East (1840 – 1843). Wrote interiors, landscapes, multi-figured compositions. The author of the painting "Parade on the Empress meadow October 6, 1831" (Constructed in 1837, the All-Union Pushkin Museum, Pushkin) – a collective portrait of the outstanding figures of Russian culture the 1 st third of 19 century. Hikanor G. Chernetsov (21.07 (02.08) .1805 – 11 (23) .01.1879), painter and lithographer. He studied at the St. Petersburg AX (1823 – 1827) by MH Vorobyov. Traveled to the Caucasus (1829 – 1831), Crimea (1833 – 1836). From 1837 he worked with his brother. Landscape ("View of Tiflis, 1831, Eng. Museum, Leningrad). In the most significant works Chernetsov – risuneah, watercolors and sketches, as well as in the panorama of the shores of the Volga (1981 consisted of a sheet; a pencil, pen, completed in 1851, the Public Library. ME Saltykov-Shchedrin, Leningrad), executed from life during the trip on the Volga, classic panoramic view of building combined with documentary precision parts and truthfulness of observations. Educational in nature, imbued with interest to the native nature, these works have become one of the stages of forming a Russian national landscape painting.

Cit.: Travel along the Volga, M., 1970.

Lit.: Smirnov GV, GG Chernetsov, H. G. Chernetsov in the book.: Russian Art … The first half of the nineteenth century, M., 1954.

]]> http://actorsrussian.com/biography-chernetsov.html/feed 0 Biography of Anthony Van Dyck http://actorsrussian.com/biography-of-anthony-van-dyck.html http://actorsrussian.com/biography-of-anthony-van-dyck.html#comments Fri, 16 Apr 2010 18:10:48 +0000 admin http://actorsrussian.com/biography-of-anthony-van-dyck.html Anthony van Dyck (22/03/1599 – 12/09/1641), Flemish painter. The son of a wealthy cloth merchant. From 1609 he studied at the X. Van Valin, in 1615-16 had already had his own studio, where together with other young artists made a series of "heads of the Apostles. Since his early years, Van Dyke turned to portrait painting (portrait Ya Vermelho, 1616, Gos. Museum, Vaduz). He wrote as paintings on religious and mythological themes (The Crucifixion of St. Peter ", ca. 1615 – 1617, The Museum of Ancient Art, Brussels," Jupiter and Antiope ", ca. 1617-18, Museum of Fine Arts, Ghent). Around 1618-20 he worked as an assistant to P. Rubens, was strongly influenced by his full, lush beautiful manners. Varying elaborated Rubens images and techniques, van Dijk at the same time attached to the heroes of his paintings more elegant, sometimes individualized appearance ("John the Baptist and John the Evangelist", 1618, Art gal., Berlin-Dahlem). In late 1620 – early 1621 Van Dyke worked at the court of King James I, and then returned to Antwerp. The works of this period (portrait F. Snyders and his wife, Picture Gallery, Kassel, St Martin, Church of Saint-Martin, Zaventem) defined the artist's desire to spiritualized grace and generosity, his sensitivity to the unique features of the emotional and intellectual life . Since the end of 1621 Van Dyke lived in Italy (ch. arr. In Genoa). At that time, he develops and perfects the type of ceremonial portrait Baroque, in which the active role played by attitude, posture and gesture of man (portrait of Cardinal Bentivoglio G., ca. 1623, Palazzo Pitti, Florence). Understanding the achievements of the Venetian school with color impact in the gallery of brilliant portraits of Genoese nobility, the splendor of striking compositions, the beauty of deep, dark tones, the solemnity of the background and accessories (paired portraits – the old Genoese and his wife, Arts gal., Berlin-Dahlem, Marques AJ . Brignole-Sale and his wife Paolini Adorno, Gal. Palazzo Rosso, Genoa; portrait of a lady with a girl, The Museum of Ancient Art, Brussels). At the same time, van Dijk has created acute evocative images of people of high intelligence and creative talent (the portrait of the sculptor F. Duquesnoy, ok. 1622, The Museum of Ancient Art, Brussels, male portrait, ca. 1623, Hermitage Leningrad). Since late 1627 until 1632 Van Dyke again lived in Antwerp, in 1630 became court painter Archduchess Isabella. This period of higher creative impulse van Dyck, when he managed in the state portraits of the most organically combine the individual psychological characteristics with a solemn representativeness of the image (portrait of Maria Luisa de Tassis, Gal. Liechtenstein, Vienna), and intimate portraits (AP Snayersa painter, Alte Pinakothek , Munich; series of etchings "The Iconography") to reveal the richness of the spiritual life of their contemporaries. More uniform, although sometimes very effective, religious and mythological figures (the Madonna del Rosario ", launched in 1624, Oratorio del Rosario, Palermo; Rest on Flight into Egypt, con. 1620's., Alte Pinakothek, Munich) . In 1632 Van Dyck worked in London as a court painter of Charles I, executed numerous portraits of the king (Charles I, on the hunt, ca. 1635, Louvre, Paris), his family ("Children of Charles I", 1637, Windsor Castle) and the nobility (portraits F. Wharton, Nat. gal. Art, Washington, J. Stewart, the Metropolitan Museum, New York), he stressed sophistication poses and colorful harmonies, aristocratic English nobility, understood as a manifestation of a refined spiritual culture. In recent work van Dijk grace and elegance become obsessive, self-contained reception characteristics, and in the color appear dry and diversity; grand aristocratic portrait comes to conventional and impersonal standard, which soon began to reign in court art in many countries. Lit.: Lisenkov EG, Van Dyck, L., 1926, [Smolskaya NF], Anthony van Dyck, M.-L., 1963; Gliick G., Anto-nis van Dyck. Des Meisters Gemalde, 2 Aufl., Stuttg. – V., 1931; Puyvelde L. van, Van Dyck, Brux. – Amst., 1950.

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