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Gleyre claimed that "Lost Illusions" represented a vision that he had experienced on the evening of March 1, 1835, while sitting on the banks of the Nile River near Abydos, Egypt. An aging poet watches pensively as a mysterious boat carries away his youthful dreams and illusions, personified by music-making maidens and a cupid strewing flowers. Although the figures in the painting wear classical Greek dress, their vessel resembles a "dahabieh," an Egyptian river boat.
In 1843, Gleyre succeeded Paul Delaroche as the head of the major private studio in Paris. His pupils included such diverse figures as the Academic artist Jean-Léon Gérôme, the future Impressionists Alfred Sisley and Auguste Renoir (1841-1919), and the American James Abbott McNeill Whistler (1834-1904). This painting, begun by Gleyre's pupil Léon Dussart and reworked by Gleyre himself, replicates Gleyre's masterpiece "Le Soir" (now in the Louvre Museum, Paris). William Walters commissioned this painting from the artist through the Parisian art dealers Goupil & Cie. in 1865. It took two years to complete. Conscious of the delay, the firm wrote to Walters:
Mr. Gleyre has finally nearly finished his reproduction of his picture. . . We are happy to be able to tell you that this reproduction is beautifully done. It has taken a long time and has required more trouble from the painter than he thought.
H: 34 1/16 x W: 59 1/4 in. (86.5 x 150.5 cm)
Framed H: 52 1/4 x W: 77 1/2 x D: 7 1/4 in. (132.7 x 196.9 x 18.4 cm)
medium: oil on canvas
Walters Art Museum, 1931, by bequest.
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The surface of the painting has suffered significant damage and limited research has been carried out on the painting. Originally it was likely a fine portrait.
The sitter is unknown but likely a member of a noble family of Begamo, the northern Italian city with which Moroni is associated. By the mid 1500s, it was quite common for a nobleman to be accompanied by a hunting dog, more as an indication of a classic noble pursuit than as an object of affection. As the nobleman is posed in left profile, his most striking attribute is his swept-hilt rapier (sheathed) in the newest style and probably made in the region. Although there appears to be a pendant weighing down the gold chain round his neck, he covers it with his right hand. This curious gesture simply calls attention to the fact that he is shielding something from our view. His pose turned to our left and looking back, in front of what appears to be a pier on the left side of a semi-circular, empty niche in ruins can be compared with the Portrait of Giovanni Gerolamo Grumelli (with a more fully-articulated setting) dated 1560 in the Palazzo Moroni, Bergamo. A similar backdrop was used for several of his portraits.
The technical status of the painting, as described in Federico Zeri, Italian Paintings in the Walters Art Gallery (Baltimore 1976) no. 297, has not appreciatively changed.
Painted surface and stretcher H: 44 3/16 x W: 35 7/16 in. (112.3 x 90 cm)
medium: oil on canvas
by bequest to Walters Art Museum, 1931.
This pendant represents a jaguar, an animal with which a warrior would have wanted to be associated. The animal's mouth is open to display its dangerous teeth, and the end of its characteristic tail is curled upwards. The front feet have loops for suspension.
Raw and refined gold was as valuable as it was symbolic to the people of Precolombian Panama. Because of its reflective nature, which mirrored the shining sun, working with and wearing gold signaled a characteristic of the divine. In order to create complex and beautiful gold pieces, many goldsmiths adapted the lost wax method of metallurgy. This technique—probably initially developed in the Northwest region of Colombia—used wax and clay to create a mold, enabling molten metal to be poured into the cast and melt the surrounding parts to produce exquisite and thin ornamentation.
Pendants were worn by men around the neck on ceremonial occasions. Columbus noted that the inhabitants of Panama who came to greet him wore gold pendants in the shape of eagles. This piece could have been created in Columbus's time or during the previous 600 years.
Panamanian
1 3/8 x 3 9/16 in. (3.5 x 9 cm)
medium: gold and copper alloy
culture: Panamanian
Walters Art Museum, 1931, by bequest.
This armor was developed for the joust-a sporting combat between two mounted contestants. Although all of the elements of this armor date from the same period, they are not all from the same suit. This armor is thus called "composed." It also shows the asymmetry of jousting armor. The participants rode along a wall-like barrier known as a "tilt" with their left sides facing one another. Consequently, armor on that side of the body had to be thicker. Note the large plate (grandguard) over the left shoulder for extra protection. Also, the breathing holes in the helmet were placed on the right side (farthest from an opponent's lance) to avoid injuries from splinters. The bracket attached to the right breastplate is called the lance-rest, a shock-absorbing support designed to accommodate the lance when "couched" under the right armpit.
South Germany, 16th century
steel, leather straps, brass rivets
Overall: 33.5 cm (13 3/16 in.)
Gift of Mr. and Mrs. John L. Severance