5 Answers

  1. Netzke. Images of sages, mythical characters allow you to better understand a person. Animal images and genre scenes create complex associations and emotions. Something is happening in the subcortex. The mysterious becomes clear. You understand people and their actions better.

    When I approach the stand with Netzke at the Museum of Oriental Art, there is always a new discovery (the expositions are periodically changed). But also a disappointment. I wanted to see my favorite figures again, admire them, but they are not there.

  2. I can't say if I have one of my favorite pieces of art. But I still dearly love the work of Jan Vermeer “Thrush”. This work is very popular, and the artist can hardly be called fashionable or relevant, but I have a memory from uni connected with it.

    In one of the art history classes, we were unexpectedly given the task of writing a short essay on a painting. Without preparation, I couldn't remember anything about this piece, and I stared at the A4 color printout for a long time, trying to figure out what to cling to in order to start analyzing. My eye kept slipping on the milk pouring out of the jug, but I was so excited that I couldn't start writing. I kept looking at that jug of milk, and I didn't even notice that after a while I was already writing a page-long text about light flowing to the hands of the cook, stopped time and eternity at the same time. I don't remember what they said about the quality of my analysis, but I remember that I came out of that pair as if after a good meditation – calm and peaceful.

    Although the unfortunate krynka with milk was devalued by all kinds of advertising of dairy products, still, when I remember this work, for some reason a pleasant bright feeling of warmth comes over me.

  3. Yeah… the question is complex and until you read the transcript under the question, it is not entirely clear how to answer. I would generally suggest looking at this whole situation from a different angle. The more a person reads, listens, or watches, the more difficult it is for them to choose their favorite book, piece of music, or visual art, simply because the choice is incredibly wide, the spectrum is larger, and narrow-minded subjectivity is broader. It is easier to answer such questions when there is still little knowledge and experience))) Well, an artist who was purposefully shoved into a lot of information about his profession, of course, it is difficult to choose one thing. It is difficult at least because you understand that each draftsman in “your” profession has made a huge contribution, which you now use and spent all of yourself on it without a trace, and, accordingly, you realize the real value of each. It is easier to say whose work is closer “in spirit” or, on the contrary, far away and does not cause empathy. And even then, views change with experience. In the days of youthful romantic maximalism, for example, I was more in tune with the work of M. A. Vrubel, and now that I have already lived, worked, and raised a few children, I like Viktor Popkov. I like it because, in his paintings, the entourage reminds me of my childhood, because now you can also quarrel with your wife and sleep for a week “at random”, because you just recently buried exactly the same good person grandmother Anisya, but only your own, because like his lyrical hero was carried away by a strange woman, for example, or finished the picture and you are experiencing catharsis. But Mikhail Alexandrovich, on the contrary, became somehow distant, detached from everyday life.

    I love Viktor Popkov for the fact that he draws native, understandable people who live heroically: they dare to love and create. This is an opinion, not an art history analysis.

    Viktor Efimovich Popkov. Quarrel. kh. m. 1968.

    This is what “razzopitsu” is all about.

  4. This is a difficult question. I can't possibly. One thing is certain, because I get carried away, fall in love with what I study. And I was disappointed in many of my favorites over time

  5. “Madonna Litta” is almost the only authentic work of Leonardo da Vinci in our country! This small painting measuring 42×33 cm was painted by a genius of the Italian Renaissance after 1506. It entered the Hermitage (GE-249) in 1865 from the collection of A. Litta in Milan.

    “Riddles of genius. 500 years since the death of Leonardo da Vinci”. Guest of the broadcast is Academician Oleg Germanovich Ulyanov, head of the sector of the Central Museum of Ancient Russian Culture and Art named after Andrey Rublev: https://www.radiorus.ru/brand/57958/episode/2104828

    This work, small in size (42 x 33 cm) and striking in its intimate grandeur of composition (it is appropriate to quote Leonardo's dictum that “a narrow space that can contain the image of the entire universe … directs human thoughts to the contemplation of the Divine” – C. A. 345 v.), has caused a constant controversy since its admission to the Hermitage collection. In February 1865, the painting “Madonna Litta” was purchased by the director of the Hermitage S. A. Gedeonov from the family collection of Duke Antoine Litta in Milan. and the academic adviser Baron von Kene, the author of the first publication about the painting (Archive GE. F. 1. Op. V, 1865, d. 7. Ll. 1-10; B. V. von Kene. Paintings by Leonardo da Vinci. St. Petersburg, 1866, pp. 2-3). In the same year, due to poor preservation, the painting was transferred from wood to canvas by the restorer Alexander Sidorov, who was awarded a silver medal for a successful translation (Archive GE. F. 1. Op. V, 1865, d. 3. L. 142-143).

    As early as 1543, Leonardo's” Madonna up to the waist, in half a figure, who is nursing a baby ” was mentioned in the collection of the Venetian philosopher Pietro Contarini. Finally, among Leonardo's own drawings is a study of the head of the “Madonna Litta”, executed in silver pencil on green-tinted paper (Louvre, No. 2376, ca.1490).

    Special attention should be paid to the opinion of Rinaldi, who dated the painting to 1507-1508 on the basis of drawings from Leonard's “Arundel Codex” (Arundell Collection), stored in the British Museum in London, where on l. 253 v. and 256 r. there are sketches of a suckling baby (A. de Rinaldis. Storia dell’opera pittorica di Leonardo da Vinci. Bologna, 1926. P. 238-239. For a similar date, see: L. H. Heydenreich. Leonardo da Vinci. London-New York-Basel, 1954. p. 12, 180). The Codex Arundel has an exact date of 1508, which is indicated on the title page (Br. M. I r).

    It should be added that a scientific X-ray study of the painting “Madonna Litta” in the Hermitage allowed us to establish the undoubted similarity of the” Madonna Litta “with the” Gioconda “(1503, 1514-1515) both in general outlines and in the entire character of the author's drawing revealed in X-rays (Gukovsky M. A. Madonna Litta. L.-M., 1959. P. 56). Based on this, it is quite reasonable to attribute the beginning of work on the “Madonna Litta” to the second Milanese period of Leonardo's work, who continued to create his little masterpiece in Rome.

    As it was possible to establish as a result of field research, the prototype of this brilliant image in the painting “Madonna Litta” by Leonardo da Vinci was the oldest image of the Virgin in the Roman catacombs (Our Lady with the Prophet (Catacombs of Priscilla, Rome): https://www.academia.edu/25206747/The_picture_Madonna_Litta_of_Leonardo_da_Vinci_and_the_most_ancient_image_of_the_Virgin_in_the_Catacombs_of_St_Priscilla_Rome_

    For the first time this sensation was reported in the program dedicated to Leonardo da Vinci, in the “Biblical story” (2006) on TV: “not so long ago, more precisely, in the nineties of the last century, a Russian scientist and church archaeologist Professor O. G. Ulyanov studied frescoes in the catacombs of St. Priscilla in Rome (an interview with the scientist can be read on the website).<url>). Among the catacomb frescoes there is an image of the Virgin Mary with the Child, which is, apparently, the oldest image of the Mother of God in world painting. The Russian scientist was struck by its coincidence with the composition of”Madonna Litta”. Like Leonardo, the feeding Baby looks around and looks at the viewer”: https://youtu.be/mDKCQVqo0bw

    Such a sensational scientific discovery formed the basis of the modern bestseller and even the popular computer game ” The Secret of Da Vinci. Потерянный манускрипт (2006/Repack)»: https://www.pravda.ru/news/culture/65238-madonna_lita_kartina_ermitazh_leonardo_da_vinchi_roman_natali/

    “The Myth of art or the art of myth”: http://www.nesusvet.narod.ru/ico/books/ulyanov/

    Cracking the Da Vinci Code: https://life.ru/p/411066

    Despite the very unsatisfactory preservation of the painting, the Hermitage has repeatedly sent this priceless masterpiece of Leonardo for display at foreign exhibitions (1962-Paris, 1990-Milan and Madrid, 2003-2004-Rome and Venice, 2011-London, 2019/2020-Milan). And at the exhibition ” Leonardo. “Madonna Litta and the Artist's Workshop” at the Poldi Pezzoli Museum in Milan (November 8, 2019-February 10, 2020),” Madonna Lita “was presented not as an original, but as a work of the”Leonardo workshop”?!

    Meanwhile, the great Leonardo copied the brilliant Rublev!

    The bowed face of “Vladimirskaya” letters from St. Nicholas. Andrey Rublev (+17.10.1428) with a characteristic stroke of winged eyebrows rising from a refined straight nose, as if reflected in the face of Leonardo da Vinci's “Madonna Litta” (see photo). From the face of the Most Pure, both Rublev and Leonardo have a calm dimension, silence, which is gently transmitted to the viewer during prolonged contemplation of both masterpieces.

    When did Leonardo da Vinci get to touch the art of St. John the Baptist? Andrey Rublev? As a result of painstaking archival research, it turned out that Leonardo visited the Moscow Kremlin in 1494-1495, when for the first time the 100th anniversary of the miraculous salvation of Moscow from the invasion of Temir Aksak in 1395 (the 1st feast of the Vladimir Icon of the Mother of God) was celebrated.

    Sensational information about the stay of the famous Leonardo da Vinci in Moscow was published recently at the First International St. Petersburg Historical Forum: https://ruskline.ru/video/2019/11/11/sensacionnyi_doklad_na_pervom_mezhdunarodnom_peterburgskom_istoricheskom_forume

    “It is well known that the Kremlin was built by Italians. Their names are well known. One of the main architects was Pietro Antonio Solari. He came from a family of architects who worked in Milan with Leonardo da Vinci, worked with the great da Vinci and Antonio himself. Some historians, comparing historical evidence, do not even rule out that Leonardo personally participated in the construction of the Kremlin. The first to put forward this hypothesis in the late 80s of the twentieth century was the historian Oleg Ulyanov, who spent his entire life studying the history of the Kremlin. There is no direct evidence for this theory, but more and more indirect ones are being found, starting with almost exact matches in the Florentine's drawings with rare elements of the Kremlin walls, to “white spots”in the biography of da Vinci in the period from 1499 to 1502. Dmitry Likhachev showed great interest in the version of Leonardo's hand”: https://russian7.ru/post/tajjny-kremlya/full/

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