2014年4月24日星期四
Dance
The Fortune Teller
Madame de Pompadour
Madame de Pompadour,created by artist François Boucher in 1756.Alte
Pinakothek.
Jeanne Antoinette Poisson, Marquise de Pompadour, also known as Madame de Pompadour (29 December 1721 – 15 April 1764) was a member of the French court and was the official chief mistress of Louis XV from 1745 to her death. She was trained from childhood to be a mistress, and learned her trade well. She took charge of the king’s schedule and was an indispensable aide and advisor, despite her frail health and many political enemies. She secured titles of nobility for herself and her relatives, and built a network of clients and supporters. She paid careful attention not to alienate the Queen, Marie Leszczyńska. She was a major patron of architecture and such decorative arts as porcelain. She was a patron of the philosophes of the Enlightenment, including Voltaire. Hostile critics at the time said she was responsible for the Seven Years' War, and generally tarred her as a malevolent political influence. Historians are more favourable, emphasizing her successes as a patron of the arts and a champion of French pride.
Jeanne Antoinette Poisson, Marquise de Pompadour, also known as Madame de Pompadour (29 December 1721 – 15 April 1764) was a member of the French court and was the official chief mistress of Louis XV from 1745 to her death. She was trained from childhood to be a mistress, and learned her trade well. She took charge of the king’s schedule and was an indispensable aide and advisor, despite her frail health and many political enemies. She secured titles of nobility for herself and her relatives, and built a network of clients and supporters. She paid careful attention not to alienate the Queen, Marie Leszczyńska. She was a major patron of architecture and such decorative arts as porcelain. She was a patron of the philosophes of the Enlightenment, including Voltaire. Hostile critics at the time said she was responsible for the Seven Years' War, and generally tarred her as a malevolent political influence. Historians are more favourable, emphasizing her successes as a patron of the arts and a champion of French pride.
Nymphs and Satyr
Nymphs and Satyr , created by artist William-Adolphe Bouguereau in 1873.
Nymphs and Satyr was exhibited in Paris in 1873, a year before the Impressionists mounted their first exhibition. Purchased by the American art collector and speculator John Wolfe, it was displayed in his mansion for many years alongside other high-style French academic paintings. It was sold at auction in 1888, after which the painting was displayed in the bar of the Hoffman House Hotel, New York City until 1901, when it was bought and stored in a warehouse, the buyer hoping to keep its 'offensive' content from the public. Robert Sterling Clark discovered the piece in storage and acquired it in 1942.
Nymphs and Satyr was exhibited in Paris in 1873, a year before the Impressionists mounted their first exhibition. Purchased by the American art collector and speculator John Wolfe, it was displayed in his mansion for many years alongside other high-style French academic paintings. It was sold at auction in 1888, after which the painting was displayed in the bar of the Hoffman House Hotel, New York City until 1901, when it was bought and stored in a warehouse, the buyer hoping to keep its 'offensive' content from the public. Robert Sterling Clark discovered the piece in storage and acquired it in 1942.
2014年4月23日星期三
Portrait of Madame Barbe de Rimsky-Korsakov
Winding the skein
In 1867 Leighton visited Lindos on the Greek island of Rhodes, and sketched
local models on the roof terrace of a whitwashed house, as well as recording
views of the wide bay and the hills beyond the town. He returned to these
sources in about 1877 after travelling to Spain in search of a beautiful October
sky to accompany this two-figure composition of girls winding a skein of
worsted. The weather on that trip was disappointing — he artist noted that he
had a right to expect "the clear, keen autumn weather, after the air has been
well swept and purged by the equinoctial broom and pail" — so the more distant
recollection of golden sunlight over the Bay of Lindos was presumably closer to
what Leighton had in mind for this painting. The location is clearly
identifiable by the so-called Tomb of Cleobolos which may be seen at the end of
the promontory that juts out to the far right.
In 1895 Ernest Rhys remarked that subjects of this kind, the "idealization of a familiar occupationÑso that it is lifted out of a local or casual sphere, into the permanent sphere of classic art, is characteristic of the whole of Leighton's work." Yet it also had the distinct classical association with the Fates (Clotho, Lachesis and Atropos — who drew, measured and cut their thread). One of Leighton's regular models, a girl called Connie Gilchrist, posed for the figure of the child. She appears in two famous paintings of the previous year, Music lesson (London, Guildhall Art Gallery) and Study: At a reading desk (Liverpool, Sudley House). . . . The picture was engraved, and went to the Royal Academy in 1878.
In 1895 Ernest Rhys remarked that subjects of this kind, the "idealization of a familiar occupationÑso that it is lifted out of a local or casual sphere, into the permanent sphere of classic art, is characteristic of the whole of Leighton's work." Yet it also had the distinct classical association with the Fates (Clotho, Lachesis and Atropos — who drew, measured and cut their thread). One of Leighton's regular models, a girl called Connie Gilchrist, posed for the figure of the child. She appears in two famous paintings of the previous year, Music lesson (London, Guildhall Art Gallery) and Study: At a reading desk (Liverpool, Sudley House). . . . The picture was engraved, and went to the Royal Academy in 1878.
They did not Expect Him
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