Broncos 365

Siena, a small town in Italy, Tuscany has a glorious and long history. The city was founded by the Etruscans, was a member of the Roman Empire, but the top of its political heyday reached in the Middle Ages, thanks in no small contributed the trade routes that passed through the city. Siena Republic was strong enough and large European country in the Middle Ages. The population of Siena in the 14th century up to 100 people. However, all changed the plague, which in 1348 undermined the forces of both the Republic of Siena that the latter has failed to recover from it. Paradoxically, with the decline of the political glory of the city there is a significant recovery artistic life of Siena, which was then entered its most fruitful period of development. At this time in Siena, one after another, there are such prominent artists as Bartolo di Fredi, known for his work in San Gimignano, his pupil Taddeo di Bartolo and Sasseta. Sasseta was the leading painter of Siena of the 15th century and the first artist in the city, which has applied in his work opened the Florentine artists of the linear laws perspective.

His most famous works include 'The Temptation of Saint Anthony', 'Last Supper' and two charming landscape – the 'town by the sea' and 'Castle on the shore of the lake. " Among other Sienese painters of the 15th century include such names like Santo Pietro di Giovanni di Paolo and Matteo di Giovanni, who mostly painted pictures of religious subjects. Among the artists of the 16th century Sienese allocated Domenico Beccafumi and Giovanni Antonio bazzite. Beccafumi long studied in Rome, where he met with the late works of Raphael and Michelangelo. On his return to Siena he begins to paint, which differed unusual composition and the expression of feelings. Pictures of Sienese artists can viewed in the City Pinakothek, the Cathedral of Siena, as well as in churches and monasteries of the city.

Such arguments have been known to influence the educated people. In the early nineteenth century is the emergence and the emergence of historicism, manifested opportunity and ability to judge different eras in its own context and in their criteria. The result of this new historicism came the emergence of new schools of fine arts, which tend to still pass unprecedented historical fidelity. Neo-Classicism in art and architecture was one result, on the other movement in art which was inspired by the pious pictures been the subject of the formation of so-called primitive schools. Where in the academic painting using black glaze with a highly selective, idealized form, and the strict suppression of details, as primitivists used the fuzzy outlines, bright colors and did not pay attention to detail. To tribal and other forms of uncivil art also addressed those who were dissatisfied with the repressive aspects of a civilized Culture, as a pastoral art, existing for thousands of years.

Imitations of tribal or archaic art also fall into the category of historicism of the nineteenth century, as in these simulations artists tend to reproduce art in an authentic manner. Real-world examples of tribal, archaic and folk art were valued as a creative artist and collectors. Two events have shaken the world of fine Art in the mid-nineteenth century. First, the invention of the photographic camera, which may stimulate the development of realism in art. Second, the discovery in the world of mathematics non-Euclidean geometry, which overthrew the Two thousand years apparent absolutes of Euclidean geometry and cast doubt on the prospects of academic traditions and blind imitation of classical models, offering the possibility of multiple worlds, and dimensional perspective, in which a thing may look very different. Open new dimensions may have the opposite effect to photos and then worked to oppose realism. Artists, intellectuals and Mathematics now understand that there are other ways of seeing things beyond what they were taught in the schools of fine arts and academic art schools, which included the rigidity of the curriculum, based on copying idealized, classical forms and conducted the culmination of civilization and knowledge.

But Stan did not remain indifferent to fun for its guests, and he often became one of the most irrepressible joker and "idlers". Characters Wall not remain indifferent to the audience, and make us participants in a fun, zagovorcheski exchanging glances with us winks, inviting us to join their celebration. Such "social" uchastinikov fun characteristic of the characters more intimate scenes. They are, if not looking at us, their posture, body rotation stress attentiveness to the audience, pointing at our participation in an event. Returning to the characters in crowd scenes pictures wall, notice the overall dispersion of action. Participants are divided image into small groups to each of which attention is drawn to something one – whether it is pouring a drink under the acclaim of others, raskurivanie tube, or laughter, caused by a joke. When looking at individual parts "Podsyuzhetov" picture, there is almost a noisy atmosphere generated by the movements of the troublesome characters, their immediate outcries.

Most other people we see in paintings by Vermeer. Most scenes of intimacy contributes not only to a limited number of participants, as previously mentioned, but their special, as if detached state. Characters are not many turned to the viewer, to share with us their experiences as immersed in himself and in his classes. We note, in rare cases sight, directed at us, interacting with each other, they do not include in his audience, preferring to either sit in the profile, or it does turn to us back. Vermeer and denotes a kind of barrier that separates the living area of their characters from the space of the audience with a heavy curtain, bulky table in the foreground image. Thus, contemplation paintings by Vermeer, we understand that we have no opportunity to participate in events taking place on them, which was possible by looking at the wall of genre painting.