Antique Cologne (part 4)
In Cologne, stone tombs of Roman legionnaires were also found. There were quarries designed specifically for their manufacture. The setting of tombstones was a sign of the welfare of the…

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Brotherhood of the Pre-Raphaelites (part 4)
A storm broke out in 1850, partly due to Rossetti's tactlessness. All members of the fraternity had to sacredly keep the secrets of the initials of “PRB” sacred, and so…

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Venice School of Painting (part 5)
The last great master of Venice of the 16th century, Jacopo Tintoretto, seems to be a complex and rebellious nature, a seeker of new paths in art, keenly and painfully…

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Venice School of Painting (part 5)

The last great master of Venice of the 16th century, Jacopo Tintoretto, seems to be a complex and rebellious nature, a seeker of new paths in art, keenly and painfully experiencing the dramatic conflicts of modern reality.

Tintoretto introduces into her interpretation a personal, and often a subjectively arbitrary principle, subordinating human figures to certain unknown forces that scatter and circle them. By speeding up the prospective reduction, it creates the illusion of a rapid run of space, choosing unusual points of view and fancifully changing the outlines of figures. Simple, everyday scenes are transformed by the invasion of surreal fantasy light. At the same time, the world retains its grandeur, is full of echoes of great human dramas, clashes of passions and characters.

The greatest creative feat of Tintoretto was the creation of an extensive, consisting of more than twenty large wall panels and many ceiling compositions, of a painting cycle in Scuola di San Rocco, on which the artist worked for almost a quarter century – from 1564 to 1587. By the inexhaustible wealth of artistic imagination, by the breadth of the world embracing a universal tragedy of scale (“Golgotha”), and a miracle that transforms a poor shepherd’s hut (“Christmas of Christ”), and the mysterious grandeur of nature (“Mary Magdalene in the desert” ), and the high exploits of the human spirit (“Christ before Pilate”), this cycle has no equal in the art of Italy. Similar to the majestic and tragic symphony, he completes, along with other works by Tintoretto, the history of the Venetian Renaissance school of painting.

Olympia - the sanctuary of Hellas (part 4)
In the building of the workshop there were altars. The disciples of Phidias received the nickname of the cleaners, as they were entrusted with the honorable duty of cleaning the…

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18th century Venetian landscape painters (part 1)
By the beginning of the XVIII century, the once powerful Venice had lost the significance of the political center of the Mediterranean, turning into a kind of pilgrimage center. Rich…

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Turkmen folk costume (part 2)
Apparently, the patterns covering the collar, sleeves and hem of the dressing gowns and shirts are also associated with these ideas. For certain areas and tribal groups, special ornaments and…

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Coroplasts from Tanagra (part 3)
The movements of the Tanagryanoks are beautiful and measured, their gestures are restrained, and the expression on their faces is noble. Here is a woman, raising her raincoat, wants to…

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