Фото и сликарска уметност

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Ова се мои слики, ги продавам. Насликани се со маслени бои на платно. Подетални информации во ЛП.

 

Сликата ја има сликано брат ми

 

Annie Stagg

 

Inner garden | Frieda Rike & Vivienne B

 

Courtesy of www.EdvardMunch.org


Essentially this famous picture is autobiographical, an expressionistic construction based on Munch's actual experience of a scream piercing through nature while on a walk, after his two companions, seen in the background, had left him. Fitting the fact that the sound must have been heard at a time when his mind was in an abnormal state, Munch renders it in a style which if pushed to extremes can destroy human integrity. As previously noted, the flowing curves of art nouveau represent a subjective linear fusion imposed upon nature, whereby the multiplicity of particulars is unified into a totality of organic suggestion with feminine overtones. But man is part of nature, and absorption into such a totality liquidates the individual. Beginning at this time Munch included art nouveau elements in many pictures but usually only in a limited or modified way. Here, however, in depicting his own morbid experience, he has let go, and allowed the foreground figure to become distorted by the subjectivized flow of nature; the scream could be interpreted as expressing the agony of the obliteration of human personality by this unifying force. Significantly, although it was Munch himself who underwent the experience depicted, the protagonist bears no resemblance to him or anyone else. The creature in the foreground has been depersonalized and crushed into sexlessness or, if anything, stamped with a trace of the femininity of the world that has come close to assimilating it.

Several facts indicate Munch was aware of the danger of an art of this sort for a neurotic humanist like himself. He soon abandoned the style and rarely if ever again subjected a foreground figure to this kind of radical and systematic distortion. At the top of another version of the subject (National Gallery, Oslo) he wrote: 'Can only have been painted by a madman.' He certainly had a horror of insanity, which had afflicted his sister Laura. Within the picture, he has set up a defense, in the form of the plunging perspective of the roadway and its fence, which preserves a rational world of three dimensions, holding at bay the swell of art nouveau curves. Safe in this rational world, the two men in the distance remain unequivocally masculine. In the foreground unified nature has come close to crossing the fence, close enough to distort the form and personality of the protagonist. But the fence still protects it from total absorption into subjective madness.





Van Gogh, Starry Night
In Starry Night contoured forms are a means of expression and they are used to convey emotion. Many feel that van Gogh´s turbulent quest to overcome his illness is reflected in the dimness of the night sky. The village is painted with dark colors but the brightly lit windows create a sense of comfort.

 

„Сатир“ од Jacob Jordaens, Брисел

Рембрант, Брисел

 

Hans Holbein, Берлин

 

Марк Шагал, „Говедар“


Петар Бројгел, „Падот на побунетите ангели“

 

Sasha Samsonova

 

„Кула Вавилонска“, Брисел

Јан Верхас „Училишни ревии“, Брисел

 

„Во лето“ - Пјер Огист Реноар, Берлин

„Мајка и дете“ - Фердинанд Георг, Берлин