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04 Jun 14 - 20:29

Claude Lorrain is uniquely charming, exquisitely poetic and suffused with nostalgia. From about 1670, the ageing artist started to take enjoyment in conjuring up memories nike blazer pas cher of his youth, especially his time in Naples between 1616 and 1621. To the left, a group of palms and other trees frame a see of the Bay of Naples, pervaded with a soft, surprisingly peaceful mild. The origin of this scene is a rarely illustrated passage from Guide IV of Ovid's Metamorphoses, describing how Perseus created coral. Getting slain the Medusa, one of the three Gorgons, whose gaze turned all who noticed her to stone, Perseus witnessed the birth of the winged white horse Pegasus, who sprang from her blood. Mounted on Pegasus with the Medusa's head nike talon in lunette ray ban pas cher femme a sack, Perseus flew more than an island where he saw Andromeda chained to a cliff and threatened by a sea monster. Perseus slew the monster, freed Andromeda and began washing the creature's blood from his hands, putting the Medusa's head on some seaweed at the water's edge as he did so. The Medusa's blood turned the seaweed into a crimson stone coral. Delighted with the effect, the nymphs soaked other algae in the blood, to make more. A discovered patron The Louvre drawing is one ray ban wayfarer pas cher of a series of 6 preparatory studies other people are in the Muse Bonnat in Bayonne, the British Museum in London and the Metropolitan Museum of Art in New York tracing the evolution of the figures and the overall composition of Claude Lorrain's portray Perseus and the Origin of Coral, now in a personal assortment in the United kingdom. The portray was executed in 1674 for Cardinal Massimi, whose collection already integrated a drawing by Nicolas Poussin illustrating the same concept (now in the Royal Library, Windsor Castle). It seems most likely that the learned cardinal himself recommended the picture's unfamiliar iconography. Moonlight or dawn? This good drawing gave Claude Lorrain an chance to discover his subject in phrases of colour and light. Here, he places the mild source towards the middle of the image, just above the horizon with rays emanating across the drinking water. ray ban pas cher femme The nymphs are summarily portrayed, and the pervading environment has led commentators to speculate about the time of working day represented. Could this be a nocturnal, moonlit scene? The artist rarely labored in this style and sadly the drawing, whose colour stability and mild have altered significantly more than the centuries, provides no clearly identifiable clues. Demonts, Catalogue des dessins de Claude Gelle dit le Lorrain, exhibition catalogue, Paris, Muse du Louvre, 1923, no. 56. M. Roethlisberger, Claude Lorrain: The drawings, Berkeley and Los Angeles, 1968, no. 1065. J. Fr. Mjans, in Le Paysage en Europe du XVIe au XVIIIe sicle : XCVe exposition du Cupboard des dessins, Paris, Muse du Louvre, 1990, no. 28. H. D. Russell, Claude Gelle dit Le Lorrain 1600 1682, exhibition catalogue, Washington, National Gallery of Art, Paris, Grand Palais, 1982 1983,

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¿De qué color es el pasto? (chequeo de seguridad)

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