Titian Portrait of a Gentleman, circa 1512, oil on canvas, 81*66CM, entered the museum in 1904.
For a long time, people have mistakenly thought that the unknown figure in the painting is the poet Ludovic. Ariosto, however, in fact this work is most likely a self-portrait of the painter when he was young. In any case, in Titian's early portraits, this is a typical example of his extraordinary talent, and such works subsequently brought him international fame. In this painting, he removes all obstacles that prevent the characters from communicating spatially and spiritually with the viewer, as if placing the person in the painting in the same space as us. In this way, the traditional mode of composition of the Venetian school painters was subverted, that is, the model was placed behind a guardrail, so that the figures in the picture could not actively communicate with the viewer, but could only become an object of observation, such as Giovanni, who was also collected in the National Gallery in London. Bellini's work Leonardo the Archon. Roley Dan". All the energy of the figure in the painting is concentrated in a closed ring formed by its curved forearms, and by hitting the backlight on the monochromatic background, the entire figure is formed into a pyramid shape. The gray-blue glowing sleeves outline the shape of the arms, and the delicate depiction perfectly shows the luxury and brightness of the clothes worn by the characters, through which we can faintly see the characters' clear and smooth bottom shirts. When Rembrandt was in Amsterdam, he had the privilege of seeing this portrait in the collection of portuguese merchant López, which he liked and benefited greatly, which brought many inspirations to his later portraits, one of which is also in the collection of the National Gallery in London.
This is the scene where Christ is saved and prepared for resurrection.
Anthony Watteau, The Music of Love, 1715-1718
In a clearing in the woods with fine foliage, a man and a woman were exchanging musical things. The man wore a gorgeous costume and leaned over the guitar to look at the sheet music in the woman's hand, and the woman sat at the man's feet and looked at the man, both of whose bodies tilted to a single point, forming a stable and intimate triangle. The fine leaves and pink costumes give a sense of ambiguity.
Hans. Memling Triptych of Dorne, 1475-1480, opened in 1957.
This is a relatively small triptych, mainly for easy carrying. When the artboards on both sides are opened, you can see the middle art. Kneeling to the right of the Virgin is John the Welshman. Lord Dorne, who was also the client of this painting, stands behind him Santa Caterina with a sword, indicating that he will be martyred in the form of a decapitation. To the left of the Virgin are John's wife Elizabeth and their eldest daughter Anna, and beside them stands Santa Barbara. Next to Santa Barbara is a tower where her father imprisoned her, symbolizing her martyrdom. Both John and his wife wore collars symbolizing the John family, with gilded roses embedded in the collar and a lion pendant symbolizing Edward IV. On the drawing board on both sides is written with the client John . Lord Dorne's namesake saints, John the Evangelist and John the Baptist, the figure that appears behind John the Baptist, may be the painter himself. Memling, a Native of Germany, successfully runs a studio in Bruges. He sets the entire scene under a well-lit corridor, where the wisps of light reflected from the bright horizon at the end of the picture and the light that shines into the corridor from the front intertwine, collide, cancel, and then light and dark, light and shadow ensemble a beautiful movement.
Leonardo. reach. Finch The Angel in Red Who Played the Lute circa 1490-1499
"The Angel in Red Who Plays the Lute" is a great painting by Da. Vinci created, although he was a genius, but as his father reorganized his talent for painting, he turned to study painting at the age of 14. He was then educated in the studio of the famous Florentine painter Verrocchio. Among his works, the Mona Lisa and the Last Supper are his most famous paintings. This is well known.
This painting is also one of his works. An angel in a red dress seriously plays a lute. Angel wears a pair of sandals that look like today's fashion style. With wings away from the angel's back, she was staring at her right side, considering it. Her curly hair is the same color as her wings and lute, which gives the painting in a harmonious atmosphere. In short, the angel stood in the doorway like a stone, lovingly playing the lute here.
Angel in Red who Plays the Lute isn't as famous as the Mona Lisa, but we are deeply moved by the exquisite painting techniques, such as the drape of the red dress that makes it feel as if we see it in reality.
Leonardo. Da Vinci, The Angel of The Green Vier, circa 1506
François Hubert druet, Madame de Pompadour before the Embroidery Rack, 1763-1764
François Hubert d'Ruyé was the chief court painter of Louis XV (1710–1774). He painted a number of portraits of the king and his two mistresses, the most famous of which is this one. As the lover of King Louis XV of France, Madame de Pompadour (1721-1764), full name Jeanne-Antoinette Poisson, Marquise de Pompadour ( Jeanne-Antoinette Poisson, Marquise de Pompadour ), "the most beautiful woman in Paris", the famous mistress of the French Emperor Louis XV, and a courtesan. A controversial historical figure, she was once a strong woman with an iron fist, and with her talents, Madame de Pompadour influenced the reign of Louis XV and the art of France. Together with his brother, he planned many court buildings such as the Place Louis XV (now Place de la Concorde). She sheltered all kinds of craftsmen and most of the writers of the encyclopedic school, promoted the Duke of Schwarzer to be a minister, and allied herself with the Austrian Habsburgs against the Protestant princes of Germany. After losing the Seven Years' War, he contracted tuberculosis and died.
The painting began in April 1763, but was not completed until May 1764, a month after Madame de Pompadour's death. The choice of this scene seems to be deliberately intended to show that Madame de Pompadour was preoccupied with embroidery and had no intention of interfering in politics. The puppy on the left hints at her loyalty, and the books on the shelves show her support for publishing, which she supported the publication of the first Encyclopedia; the mandolin and album in the lower right corner show that she also loves music and art.
Del piero. Della. Francesca "The Baptism of Christ" circa 1450, tempera woodblock prints, painted on poplar tree slabs, 167 * 116cm, entered in 1861.
The painting, which is a decorative screen on the altar, was most likely created by Piero for the Baptistery of St. John in the city of san Sebpolcro, where he was born, which is faintly visible in the background of this painting. The picture of the baptism is completely still, frozen in the moment of silent prayer: the figures and trees are standing firmly on the ground, the pigeons are spreading their wings and gliding, and the quiet water surface of the stream is faintly reflected in the lines and colors of the scenery. The cloth in the painting is also hanging straight or piled somewhere, forming strips of folds, in which John the Baptist's clothes are very simple, while Jesus Christ covers the lower body with a fig leaf, the newly converts take off their shirts and wrap them around their heads, while the angels wear red, white, violet, and dark blue colored robes, which are bright and vivid, which contrasts with the tones of the previous people's clothing. In this glorious and harmonious world, things are similar in appearance rather than conflicting with each other, such as pigeons and clouds, water and sky, the limbs and trunks of the figures, hair and branches. In this space composed of cities and hills, light sprinkles from the sky, crystal clear, without any sense of dimness, but it can clearly outline the three-dimensional form of each thing, witness the development of events, as if you can make every scene become shiny.
The painter depicts the trunk like a marble column, and next to it, there are three angels, and although they stand like a monument, they can see through the direction of their eyes that the fierce vitality is surging in the dark. The friendliness conveyed between their gestures symbolizes the deepest harmony of divinity.
Jesus Christ was enveloped evenly by a warm light that seemed to dispel any darkness, as solemn as an ancient statue carved from ivory or plaster. Piero placed him alone in a sacrosanct space, and it was clear just by looking at John the Baptist that while completing his baptism, he had to retreat his body so that he and Jesus Christ were always at a distance, as if he could never cross the boundary between the divine and mortal realms.
Piero as a whole uses relatively light colors, which are very similar to the colors used in the murals, such a hue makes the whole picture sparkle, and under the action of light, each scene is covered with a pearl-like luster. In this instant, the most fascinating thing is the miniaturized Jordan River, and every detail reflected by this stream, from the blue sky to the white clouds to the gorgeous costumes of the characters, is condensed in this sparkling wave.
Portrait of Sir Barnest Talton
Raphael "Our Lady of Ansi" circa 1505, oil painting on a poplar tree painting board, 209.6 * 148 .6CM, entered the museum in 1885.
The decorative painting on this altar was commissioned by Raphael of the Ancidi family to make it for the church of Santa Fiorentiozos in Perugia during his short stay in Perugia, and was completed around 1505. In the picture, the Virgin Mary sits on the throne with the Son in her arms, flanked by John the Baptist and St. Nicholas, who wears a bishop's crown and a scepter. Three paintings at the lower part of the altar decoration screen, one of which is The Sermon of John the Baptist, are also now hidden in the National Gallery in London. Raphael's work before he went to Florence was significantly better than his later works, and can be compared with Christ crucified, also in the Collection of the National Gallery in London. In this painting, the structure is relatively perfect, the sense of space is very strong, the architectural elements are depicted finely, the tones are clean and transparent, and the theme is clear, making the spatial structure more prominent. In such a picture, the painter creates a clear and complete figure, while at the same time closely linking the various figures in a sacred and harmonious atmosphere. Arched niches lead to the bright countryside landscape of Umbrian district, and the overall dull tones are reminiscent of Leonardo's work. It is this arched niche that makes the whole sacred meeting scene more harmonious, as if it were connected to the Church of Perugia.
The following work is Raphael's Christ crucified
Del piero. Della. Francesca Nativity, 1470-1475, oil painting on poplar tree panels, 124*123cm, entered the museum in 1874.
From this painting, we appreciate Piero's extraordinary ability to control the language of painting, he did not choose the elements that are often depicted in the content of this work, but through the precise composition and precise color grading, the network of human relations is clearly presented. Due to the limitations of the size of the drawing board, the overall proportions of these figures have been adjusted. But the states they present are not individual individuals, or individual groups, but are closely linked by relative positions and other images around them. The Holy Child lay far away from the Virgin, stretching out her hands and asking for her arms, and the Virgin responded only by looking at her. The five angels are tightly arranged together in the form of a quintet through regular interpolation, and their perfect faces are reminiscent of Luca. Della. Robia's sculpture of the ching stage of the Opera Museum of the Duomo in Florence. Each angel seemed to be preoccupied with the coordination of the various voices, and the harmonious atmosphere brought by this rhythm spread from them. A little further back was St. John, sitting contemplatively, with his legs crossed and the soles of his feet outward, in a less decent posture. However, the two priests stood almost face to face, raising their hands, perhaps pointing to the comet that was not depicted in the picture. On both sides of the cowshed we can see very different landscapes: on the left is trees, rocks and a meandering stream; on the right is a city with towers and bell towers, perhaps the city of Santsepolcro.
Bronzino The Meaning of Love, circa 1545, oil on wood 146*116CM, entered the museum in 1860.
This famous painting bears a striking resemblance to one by Vasari, which was later created by Cosimo, Grand Duke of Tuscany. morality. The Medici gave it as a giveaway to King Francois I of France. From the looks of Cupid and Venus, we can clearly see that the painting is intended to celebrate the beauty of sex. In fact, there was a time when part of Venus's nude body was covered by a tulle that was later added and later restored. This painting uses a wealth of hints, satires and other expression techniques, based on mythological themes familiar to court Chinese inkers. For example, on the right side of the picture, a smiling naked child jumps over and prepares to sprinkle rose petals in his hand on this pair of lovers, this child symbolizes "joy"; behind this figure full of joy, the face of a girl with a snake body appears in the half-light and half-darkness, and the position of her hands is completely reversed, which is considered a symbol of "deception" or "illusion", often accompanied by scenes with carnal desire; on the left side of this pair of lovers is a character symbolizing "jealousy". She seems to be screaming in despair, and this image often appears at the same time as the sex scene. In this work, Bronzino presents the picture in a flawless and elegant way, so that the nude figures presented to us are decorated like ivory. At the same time, he uses bright and bright tones to express every face and every limb beautifully. The painter achieved great success in this work with his extraordinary artistic qualities and refined Mannerist brushstrokes, while abandoning the pursuit of authenticity and objectivity of artistic images.
Michelangelo, "Burial", 1501-1506, oil on wood 162*150cm, entered the museum in 1868.
Whether the painting was written by Michelangelo and whether the date of the inscription is exact, both of which have been of great concern to art critics. The same situation was encountered with the Portrait of the Virgin, also in the Collection of the National Gallery in London, which is mainly due to the fact that the works painted on wooden panels have survived to this day and are rare and precious. Only the painting "Holy Family and St. John", which is now in the Uffizi Gallery, is historically documented. Jesus is depicted as a defeated naked athlete, his body forcibly twisted backwards, and at this moment he has just been lowered from the cross, and joseph of The Gospel writers John and Arimathea lifts him up through bandages, takes him up the steps, and walks to the Holy Sepulchre, the right part is not yet complete. The spatial position of the figures is arranged through a strict allocation of near-range views: the nearest is the kneeling woman on the left, who extends her finger to Jesus, probably Mary Magdalene; further back, the crowd in the center of the picture; and further back, the anxious half-body Joseph of Arimathea. The unfinished figure in the lower right is most likely the Virgin, who is grieving the death of her son. The middle group of figures are chained together and do not depict too many scenes, which allows the painter to devote more brush and ink to highlight the sculptural muscular strength of the figures and the changing body forms in motion. A sketch of the portrait of St. John and the Virgin is now in the collection of the Louvre in France.
Hans Jr. . Holbein The Envoy, 1533, oil on oak panels, 207*209.5CM, entered in 1890.
In this large-sized painting, like all other elements in the painting, the two figures are depicted in real proportions, and to achieve this effect, Holbein made a bold attempt using his extraordinary ability to imitate and skill. The two figures in the painting exist in reality, one is Jan . morality. Dantville, the other is George . morality. Cerf, they were all envoys sent to England by the French Embassy. The painter wanted to show the difference in the habits and dispositions of the two figures in life from the difference in clothing; one was more vivid and active, while the other was silent and diligent. A closer look reveals that many of the detailed depictions convey more information about the two protagonists. Among the objects placed on the brackets, the ages of the two protagonists are marked, along with the date and time of the painting. The instrument items placed on the double-layered brackets seem to be just piled up messily, but in fact, Holbein did not ignore a single detail. This set of realistic and delicate still life depictions is the result of the painter's skillful and delicate brushwork, showing the strong interest of two young French men in science and art. The upper level of the bracket is covered with Anatolian carpets with various instruments for measuring time and space; on the lower floor there is a broken piano, next to which is an open book, martin. Luther's hymns.
Raphael Pope Giulio II, 1511-1512, oil on wood, 108*81cm, entered in 1824.
It is most likely the portrait that was highly praised by Vasari and other sixteenth-century documents. They saw this painting while it was on display in the Church of Our Lady of the People. The painting has many imitations (one of which was also by Titian), and it is precisely because of its lifelike expressiveness that it deserves to be so popular. Raphael's work can be called perfect from creation to composition, but it is not exaggerated, which is inseparable from his superior ability to copy and express real things, and in this regard, the same is true of Titian of the same period. The time of the work is not precise, probably from June 1511 to March 1512. In the picture, Pope Giulio II grows a beard, showing his painful state of mind at that time due to political exclusion. Raphael was absolutely faithful to the facts, and we can see it for all to see, such as the shape of the Pope's left hand on the armrest of the seat and the reflection of the two tassel balls on the back of the seat under the illumination of the light. At the same time, the depiction of the details of the ball also hints at the Pope's dependence on Della. Of the Rovere family. Raphael's creation is so realistic because the pope's sitting posture is neither front nor side, subtly avoiding the situation in which the pope's viewer looks at each other. The painter set the pope's position very close to him, as if they were in the same room, so that we who watched the painting were also immersed.
The portrait shows his authority through the depiction of the pope's face on the one hand, and details such as the backrest of the chair and the slightly reduced proportions of the chair due to its placement in front of the drapery background. The drapery is decorated with many crossed keys, symbolizing the venerable position of the Pope.
Giulio II's face is full of his authority and steadfastness, and is arguably one of the most expressive works of Renaissance portraiture. The elderly and weary Pope was now deeply contemplated, his white beard outlining his cheeks and draping downwards over the red garment, making the overall color contrast even more stark.
The viewer's attention is easily focused on the details that show the status of the characters: the pope's right hand holds a handkerchief for the celebration, and the slightly curved finger wears a ring. When painting, the position of the painter is slightly higher than that of the figure, and the distance between the figure and the figure is very close, which also greatly reduces the distance between the viewer and the figure in the painting from the physical and psychological point of view.
Rembrandt, Bath girl, 1654, oil painting on oak tree panels, 62 *47CM, entered the museum in 1831.
This work is one of the masterpieces of the painter Rembrandt, the work of his fame and artistic creativity at the peak. The figures in the painting are delicately depicted, showing her most intimate side, and the model's casual posture gives an irresistible appeal, so much so that some suspect that it may be an unfinished work. The work resembles Rembrandt spying on his lover Hendrick. Stopfen, who entered his life in 1649, was strongly attacked by the Dutch Church for her dysfunctional relationship outside of the marriage. The woman in the painting tentatively walks into the creek, ready to play, and she lifts the white primer in a less elegant, but very real, very lifelike way. The subject of the painting may also be a bible or a mythological story, and the figures in the painting may be Suzanne, Bathsheba or Diana, because the bright red and gold cloaks on the shore seem to have some suggestive significance. In fact, what the subject matter of the painting is is not so important, because through this work, Rembrandt allows the audience to feel the refined and skillful brushwork of his brushwork, and brings the audience a never-ending sense of freshness. He was able to sketch the character with just a few strokes without limiting the framework of the surrounding environment. Therefore, his painting skills are unbeatable, because he knows how to use the fewest brush strokes and tools to build the most colorful visual feast. Other painters of Rembrandt's contemporaries also used the same expressive techniques, such as François. Hals and Diego. Velázquez, and then to the nineteenth century, this method of painting was again practiced by Edward. Manet's pen reappears.
Sebastiano. Bender. Piombo's Resurrection of Lazarus, 1517-1519, oil on wood was moved to the canvas, 381*290CM, entered in 1824.
Sebastiano was Venetian and later moved to Rome in 1511. The painting was painted by the cardinal of the time, later Pope Clement VII, Giuliano. morality. Commissioned by the Medici, for the main church of the city of Narbonne in southwestern France. In fact, he was in competition with Raphael, who was also being commissioned to paint the main church in Nabona, France, the Transfiguration of Jesus. The resurrection of Lazarus is a miracle because it perfectly blends intricate human figures, their different posture gestures, dazzling color combinations, and delicate facial expressions. Although the trend in the art world was dominated by Raphael and Michelangelo in the early sixteenth century, the painting still shows the painter's extraordinary ability to control the language of painting. The latter, Michelangelo, had a great influence on Sebastiano, even surpassing the Giorgione-style education he had previously received in Venice. This influence is also evident in this painting, such as the exaggerated gestures used by the figures to express their emotions, the strong sense of space that is so strong that it is slightly unnatural, and the distortion of Lazarus and the people who helped him free himself from the bandages used to bury him. These figures and huge figures are reminiscent of the works in the Sistine Chapel.
The influence of the Venetian school is reflected in the depiction of the background scene: the clouds in the sky lie on the back of the strong light, and only a faint light sprinkles down onto the vast natural landscape until the horizon at the end.
Michelangelo, Madonna, Manchester, 1497
This is an unfinished, sculptural painting by Michelangelo that demonstrates Michelangelo's good painting basics. The child in this painting is reading a book while the angel is contemplating a book.