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Biographie The Metropolitan Museum of Art 'View on the Quirinal Hill, Rome' (1800) by Simon Denis. The Path of Nature: French Paintings From the Wheelock Whitney Collection 1785-1850Metropolitan Museum of Art Through April 21.New YorkAt the national academies of art that began to be established throughout western Europe in the 17th and 18th centuries, students were trained to scrutinize posed models through the filter of antique sculpture and such approved old masters as Raphael. When the aspiring graduates of those academies went to Italy to advance their knowledge through first-hand encounters with revered works of art, they were also expected to work from local models and record, on the spot, Roman ruins, picturesque towns and the Italian landscape. But the small, broadly painted studie <a href=http://borse-louisvuitton-outlet.webs.com>borse louis vuitton</a> s on paper that resulted were never intended for exhibition. They were meant as research for exotic genre scenes or for the backgrounds of ambitious paintings of episode <a href=http://christianlouboutin-pascher.weebly.com>Chaussure Louboutin</a> s from mythology or Roman history—all idealized in the finished work. In the early 19th century, artists dissatisfied with the Academy's sleek conventions began to insist on the value of unmediated realism, based on observation. But even as that century unfolded and adventurous artists increasingly emphasized the direct and the truthful at the expense of the ideal, others continued to make studies from nature only as preparation for carefully constructed studio paintings. From 1972 to 2000, the New York connoisseur Wheelock Whitney assembled more than 50 such studies; in 2003, they came to the Metropolitan Museum of Art. Now, "The Path of Nature: French Paintings From the Wheelock Whitney Collection, 1785-1850," the first exhibition drawn from the collection, celebrates the 10th anniversary of the Met's acquisition with a selection of compelling examples. This delectable show, organized by assistant research curator Asher E. Miller, includes everything from luminous cloud studies to sunlit views of Roman ruins to preparations for genre and religious paintings. Most of the subjects are Italian, with a few images made in France and some in such exotic locales as Seville, Beirut and Luxor. All of the w <a href=http://longchamppaschersoldes.weebly.com>sac longchamp pliage</a> orks on view are small and painted, apparently with speed, directly from the motif. Since most are on paper, which allows oil paint more physical autonomy than absorptive canvas, the results are distinguished by fresh color and light, a palpable sense of immediacy and spontaneity, and a suggestion of transient moments captured and prolonged. All of this combines to make these works, particularly the landscapes, specially appealing to eyes educated by modernism—eyes that have no difficulty accepting these modest paintings as complete, just as they are. Théodore Caruelle d'Aligny's "Edge of a Wood" (c. 1850), for <a href=http://tomsshoes-outlet.jimdo.com>cheap toms shoes</a> example, a vivid image of nothing remarkable, demands our attention because it is of nothing remarkable, as well as because of its inventively orchestrated greens and the way trees and sky interpenetrate.A few names are familiar—Louis-Léopold Boilly, Camille Corot, Hippolyte Flandrin, François-Marius Granet—but most of the included artists are obscure, although some, now known only to specialists, once enjoyed substantial reputations. The biggest surprise? Simon Denis (1755-1813), a Fleming born in Antwerp who moved to Paris and then spent almost 20 years in Italy. Denis's solidly constructed studies of clouds and hilly Italian landscapes washed in dusty light are irresistible, as are his "View on the Quirinal Hill, Rome" (1800) and "Fortified Wall, Italy" (c. 1786-1806), with their geometric architecture, bathed in afternoon sun, played against sky and foliage. Like almost everything in "The Path of Nature," such works bear witness to the rapture of northerners confronted by the south and Italian sun. Painter after painter capitulates to the allure of warm ochre-painted walls and ancient brick, umbrella pines and bare hills, revealed by low, diffused, golden light. And so do we.The figure paintings, also done directly from the motif, without idealizing, are less <a href=http://2013coachoutlet.webs.com>Coach Factory Online Sale</a> instantly compelling. Sentimental narratives—a child's first steps on a picturesque terrace, a brigand and his pregnant wife kneeling at a roadside cross—sometimes make it difficult to appreciate the forthright paint-handling and assured drawing of these studies. But an unfinished, suave life study of a seated nude by one of Ingres's followers, Henri Lehmann, requires no special pleading. Neither does Boilly's head of an intense young woman or Corot's delightful cow, elegantly silhouetted against the freely painted stone wall of a barn. Corot, of course, was one of the first artists to convince us that directly painted works were complete. Next stop: Impressionism. Ms. Wilkin is a critic and independent curator. A version of this article appeared February 19, 2013, on page D5 in the U.S. edition of The Wall Street Journal, with the headline: Appealing to Modern Eyes. 
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Kamel-Tuning: Selbstredend das nicht alles was hier besprochen wird Tüv und/oder Straßentauglich bzw Zugelassen ist. Wie und Wo wer etwas einsetzt, muss jeder selber wissen. Darum sind Meldungen wie: das ist ja gefährlich , verboten usw. überflüssig. Hier wird ein Hobby betrieben und keiner sagt das diese Autos auch für die Öffentlichen Strassen gedacht sind, auch wenn das eine oder andere durchaus eintragbar oder sogar eintragungsfrei sein mag. Wir sind alle erwachsen und genug gebildet um zu wissen was wir machen und machen dürfen. Für Klugscheißer gibts andere Foren!:)
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