Menininkas: Anthony Van Dyck
Dydis: 37 x 32 cm
Muziejus: National Gallery (London, United Kingdom)
technika: Oil
"In this unusual painting, the artist has represented an octagonal framed painting of a still-life with flowers within a rustic garland of fruit and flowers. The picture is a witty trompe-l'oeil that delights the viewer with its play on the idea of the ""imitation of nature"", an idea that in the 17th century constituted the very raison d'etre of still-life painting. In the well-known story of the ancient painter Zeuxis - whose painted grapes were so realistic that birds tried to eat them - the pictorial values of illusionism and naturalism were linked together from the very beginnings of the genre in classical antiquity. This painting was also probably directly inspired by the precedent of Zeuxis's grapes.The painting within the painting represents one of Espinosa's own small still-lifes. This is the painting that is signed by the artist, who painted a number of other still-lifes in which a shell acts as a vase for flowers.Suggested listening (streaming mp3, 7 minutes):Piotr Ilyich Tchaikovsky: The Nutcracker, ballet suite, op. 71, Waltz of the Flowers"
Menininkas |
|
---|---|
muziejų |
|
Leidimai |
Nemokama nekomerciniam naudojimui. Žiūrėkite žemiau. |
This image (or other media file) is in the public domain because its copyright has expired. However - you may not use this image for commercial purposes and you may not alter the image or remove the watermark. This applies to the United States, Canada, the European Union and those countries with a copyright term of life of the author plus 70 years. Note that a few countries have copyright terms longer than 70 years: Mexico has 100 years, Colombia has 80 years, and Guatemala and Samoa have 75 years. This image may not be in the public domain in these countries, which moreover do not implement the rule of the shorter term. Côte d'Ivoire has a general copyright term of 99 years and Honduras has 75 years, but they do implement that rule of the shorter term. |