Как прекрасен этот мир

[natalyalu]

Люблю золото осени, люблю жизнь, люблю жить и люблю мир вокруг..... Natalya.

Но есть любовь на свете неземная

У чувств земных, увы, короткий век, Но есть любовь на свете неземная. Мы в эту жизнь пришли из жизней тех, В которых тоже вместе были, знаю… И встретились как будто невзначай, Как будто были вовсе незнакомы… Но после встречи вдруг прошла печаль И души друг для друга стали домом… Я чувствую тебя, когда вдали Ты грусть свою скрываешь за молчаньем. Что есть волшебней неземной любви? Да ничего! И главное признанье ..................................................... Я буду сотни лет тебя любить! Мне на тебя глядеть – не наглядеться… Ты лучше, чем умеют люди быть!!! Я на тебя смотрю влюблённым сердцем…

© Copyright: Ирина Самарина-Лабиринт, 2018

[natalyalu]

The Dresden Altarpiece (central panel) 1496 Oil on canvas, 117 x 96,5 cm Gemäldegalerie, Dresden

In 1494 Dürer made his first Italian journey and spent the winter in Venice. Italian art was to have a strong influence on Dürer's own work, particularly in paintings such as the Virgin and Child before an Archway.

The attribution of the central panel to Dürer, displayed with the side panels in the Gemäldegalerie, was rejected in 1991 on solid grounds and it was attributed to a Dutch painter of the name Jan, who worked in Frederick's court.

[natalyalu]

Portrait of the Archduchess Maria Theresia c. 1819 Oil on canvas, 77 x 63 cm Residenzgalerie, Salzburg

DAFFINGER, Moritz Michael

Austrian painter (b. 1790, Wien, d. 1849, Wien)

[natalyalu]

Basket of Grapes Oil on canvas, 50 x 60 cm Musée du Louvre, Paris

The influence of Moillon and Linard is visible in this humble but beautifully painted picture.

DUPUYS, Pierre

(b. 1610, Montfort l'Amaury, d. 1682, Paris)

[natalyalu]

Woman Milking a Red Cow

1655-59 Oil on canvas, 66 x 59 cm Nationalmuseum, Stockholm

DUJARDIN, Karel

Dutch painter (b. 1622, Amsterdam, d. 1678, Venezia)

The present painting marks the start of a new period in Dujardin's art, when he moved on from Italianate landscapes that bore the influence of Nicolaes Berchem to scenes inspired by Paulus Potter. Magisterially executed animals came increasingly to the fore, as did monumental human figures.

The duet of a milkmaid and a shepherd boy has a long pictorial tradition, stretching back at least to an engraving of 1510 by Lucas van Leyden. The subject is rendered by Dujardin as a simple evocation of everyday events. There is no communication between the characters. The cow, depicted almost portrait-like, the dog on the left, and the goat and sheep in the background, all share equal ranking with the human figures.

The bare soles revealed by the young girl as she kneels with her back to the viewer are conspicuously dirty. This motif can be related to the scandal of a few decades earlier provoked by Caravaggio's Madonna of Loreto in the church of Sant'Agostino, Rome. Dujardin, however, used this "pittoresque" (rather than crudely naturalistic) detail not in an altarpiece but in a profane scene.

[natalyalu]

Minerva, with Two Nymphs, Diana, and Aeolus (detail) c. 1719 Fresco Villa Allegri Arvedi, Cuzzano di Grezzana

The Villa Allegri was built around 1656 by the Allegri family, nobility from Verona, on the site of a preexisting sixteenth-century structure. The main hall of the villa and the adjoining oratory was decorated with frescoes by Louis Dorigny in c. 1719. The entire luminous, double height main hall is covered in trompe l'oeil architectural devices. The extraordinary upward thrust of the space is assured by the ceiling, which is divided into a complex system of transversal arches.

The Villa Allegri was built around 1656 by the Allegri family, nobility from Verona, on the site of a preexisting sixteenth-century structure. The main hall of the villa and the adjoining oratory was decorated with frescoes by Louis Dorigny in c. 1719. The entire luminous, double height main hall is covered in trompe l'oeil architectural devices. The extraordinary upward thrust of the space is assured by the ceiling, which is divided into a complex system of transversal arches.

[natalyalu]

My Valentine - Oil on canvas, 61 x 81 cm Private collection

OUTIN, Pierre

French painter (b. 1840, Moulins, d. 1899, Paris)

[natalyalu]

Bathing Ladies (Le Bain des Dames) Oil on canvas, 67 x 90 cm Private collection

In the present canvas the artist portrays a group of elegant ladies in historical costume taking a dip in a river bordering a French château.

OUTIN, Pierre

French painter (b. 1840, Moulins, d. 1899, Paris)

[natalyalu]

The Flower Seller Oil on canvas, 67 x 91 cm Private collection

OUTIN, Pierre

French painter (b. 1840, Moulins, d. 1899, Paris)

[natalyalu]

Christ Resurrects the Daughter of Jairus 1815 Pen with black ink over pencil, watercolour, 307 x 373 mm Staatliche Museen, Berlin

OVERBECK, Friedrich

German painter (b. 1789, Lübeck, d. 1869, Roma)

This picture is modeled on Italian Renaissance paintings. In spite of the colour, the figures appear to be composed of flat surfaces; the cool, transparent colour scheme simply serves to differentiate the forms.

Эта картина написана по образцу итальянской живописи эпохи Возрождения. Несмотря на цвет, фигуры кажутся составленными из плоских поверхностей; холодная, прозрачная цветовая гамма лишь помогает дифференцировать формы.

[natalyalu]

Flight into Egypt Oil on copper, 27 x 44 cm Private collection

BLOEMEN, Jan Frans van

(b. 1662, Antwerpen, d. 1749, Roma)

The Flight into Egypt and its companion piece, the Rest on the Flight to Egypt are examples of the classical landscapes with their recession through a series of planes, soft, warm lighting and classical and religious subject matter, which the artist predominantly painted throughout his career.

[natalyalu]

Portrait of Margareta van Oostenrijk Wood Musées Royaux des Beaux-Arts, Brussels

ORLEY, Bernaert van

Flemish painter (b. 1491/92, Bruxelles, d. 1542, Bruxelles)

In his own day, van Orley was called the Raphael of the North, which speaks rather more for Raphael's fame than it does for northern judgment. His principal patrons were successive Regents of the Netherlands, Margaret of Austria and Mary of Hungary. Van Orley is at his best in portraits.

В своё время ван Орлея называли Рафаэлем Севера, что скорее говорит о его славе, чем о его рассудительности. Его главными покровителями были сменявшие друг друга регенты Нидерландов: Маргарита Австрийская и Мария Венгерская. Ван Орлей лучше всего проявил себя в портретах.

[natalyalu]

Altarpiece of Sts Thomas and Matthew (detail) 1512 Oil on wood, 140 x 180 cm Kunsthistorisches Museum, Vienna

ORLEY, Bernaert van

Flemish painter (b. 1491/92, Bruxelles, d. 1542, Bruxelles)

A winged altarpiece was commissioned from the young Orley by the Guild of Stonemasons and Carpenters for the Église du Sablon in Brussels. The Guild had two patron saints, Thomas and Matthew and the altarpiece was dedicated to them. The altarpiece was later dismembered, the central panel being now in Vienna while the two wing panels in Brussels.

The picture shows the left part of the central panel with the scene of Doubting Thomas.

Гильдия каменщиков и плотников заказала молодому Орлею алтарную картину с крыльями для церкви Саблон в Брюсселе. У гильдии было два святых покровителя – Фома и Матфей, и алтарная картина была посвящена им. Позднее алтарная картина была разобрана: центральная часть сейчас находится в Вене, а две боковые – в Брюсселе. На картине изображена левая часть центральной картины со сценой «Неверующий Фома».

[lacetulle]

Khaled Marwan | The Muse

[smsomah]

San'a, Yemen, 1988. David (DJHiker) on Flickr

[smsomah]

Djebel Druze. Syria, 1920-1935. Jouin, Jeanne

[smsomah]

Kurdish woman in Iran, 1967. Teresa Battesti