©Pierre-Auguste Renoir, Bouquet de printemps (Spring Bouquet), 1866, Fogg Art Museum, Harvard Art Museums, USA
For many French artists during the 1860s, the floral still life persisted as a test of pure painterly ability. This exuberant bouquet in a Japanese vase from early in Pierre-Auguste Renoir’s career attests to the artist’s engagement with past art historical traditions. Pierre-Auguste Renoir (1841—1919) addresses the ennobled Dutch practice of still life through the large scale of his canvas, while his attention to the textures and colours of the arrangement evokes the work of early eighteenth-century French painters like Antoine Watteau and François Boucher— artists he had studied as a teenager while working as a porcelain painter.
The painting also demonstrates Renoir’s development as an artist. Instead of applying the paint with a palette knife— a technique he borrowed from artists such as Courbet— Renoir adopted a freer and thinner stroke using solely a brush.
For many French artists during the 1860s, the floral still life persisted as a test of pure painterly ability. This exuberant bouquet in a Japanese vase from early in Pierre-Auguste Renoir’s career attests to the artist’s engagement with past art historical traditions. Pierre-Auguste Renoir (1841—1919) addresses the ennobled Dutch practice of still life through the large scale of his canvas, while his attention to the textures and colours of the arrangement evokes the work of early eighteenth-century French painters like Antoine Watteau and François Boucher— artists he had studied as a teenager while working as a porcelain painter.
The painting also demonstrates Renoir’s development as an artist. Instead of applying the paint with a palette knife— a technique he borrowed from artists such as Courbet— Renoir adopted a freer and thinner stroke using solely a brush.
"Лучшая месть — забвение, оно похоронит врага в прахе его ничтожества".- Бальтасар Грасиан-и-Моралес
magnum ignotum
©Alexander Ivanov, The Apparition of Christ to Mary Magdalene, 1885
O Dear!
Don't let cavatinas die on your lips
As if with eyes closed, and each drop in your wild-beating heart is Mutin'
Don't let chandeliers die with your lips
From the depths, regret emerges with a grin
Take my hand, O Sorrow! I will lead you out, away from my kin
Hear it, O hear, Dove! -Glad nights march in
Don't let chivalries die, by your lips..
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©Luis Ricardo Falero, A scene from The Tempest, 1889
Ariel:
Prospero:
- The tempest (act 5, scene 1) of Shakespeare
Ariel:
Where the bee sucks, there suck I:
In a cowslip's bell I lie;
There I couch when owls do cry.
On the bat's back I do fly
After summer merrily.
Merrily, merrily shall I live now
Under the blossom that hangs on the bough.
Prospero:
Why, that’s my dainty Ariel! I shall miss thee,
but yet thou shalt have freedom.
- The tempest (act 5, scene 1) of Shakespeare
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