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Ամերիկայի Միացյալ Նահանգներ

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Ծանոթագրություններ[խմբագրել | խմբագրել կոդը]

  1. [https://www.azatutyun.am/a/29849328.html Բրիտանիայի խորհրդարանը նորից կանդրադառնա «բրեքզիթին»]

Fauna =[խմբագրել | խմբագրել կոդը]

Triturus cristtcus
The Northern crested newt, a salamander of the marsh of Pripiat.

The Pinsk swamps are home to thousands of birds from different biotopes of the Earth (Europe, Asia, Africa, Mediterranean) some of which come to nest here during migrations, and also swamps are a wintering area for many species of migratory birds nesting in northern countries such as Scandinavia, Finland, Baltic countries and Russia. Of the 246 species of birds, which has been observed on this territory 66 species are listed in the Red Book of Belarus. The park nestles a significant number of species that are globally threatened with extinction: Ferruginous duck (Aythya nyroca), White-tailed eagle (Haliaeetus albicilla) (just 2-3 pairs has been observed), Greater spotted eagle (Aquila clanga) (4-6 pairs), Corn crake (Crex crex), Great snipe (Gallinago media). The presence of so many birds of national and international significance underscores the importance of this territory for the conservation of biodiversity of Polesie, Belarus and Europe as a whole.

History[խմբագրել | խմբագրել կոդը]

The marshes in a 19th-century painting by Ivan Shishkin.

Historically, for most of the year, the marshes were virtually impassable to major military forces, which influenced strategic planning of all military operations in the region. In Volume VII of Wars of Justitian, by the Roman historian Procopius, is a story that the early Slavs hid out from predators in the Pripet Marshes by breathing through reeds.

After 1643 Daniel Zwicker was engaged into study of these area known as polish swamps.

Like most other wetlands in Europe, the Pinsk Marshes were once seen as an unhealthy area and a focus of sickness. Land reclamation projects of the eastern part of wetlands were started in 1872 and by the late 19th century drainage of the marshes recovered 1.5 million hectares of wetlands for use as pasture and farmland. [1]

First World War[խմբագրել | խմբագրել կոդը]

At the start of World War I, the marshes separated the Austro-Hungarian Fourth Army from the XII corps; the few roads that traversed the region were narrow and largely unimproved. That left a wide gap, and the Third Army Corps of the Imperial Russian Army poured in before the Austro-Hungarian Second Army's transfer from Serbia was complete. The Russians soon captured the valuable railhead at Lemberg (now Lviv), then in the far east of Austria-Hungary (now part of the western Ukraine), as a result. Throughout the rest of the war, the wetlands remained one of the principal geographic obstacles of the Eastern Front.

Second World War[խմբագրել | խմբագրել կոդը]

Wounded German soldiers being evacuated on a light plane in the southern zone of the Pripet Marshes. 1944

The marshes divided the central and southern theatres of operation during World War II, and they served as a hideout for both Soviet and Polish partisans. At one stage during the war, the German administration planned to drain the marshes, 'cleanse' them of their 'degenerate' inhabitants and repopulate the area with German colonists. Konrad Meyer was the leader in command of the 'Pripet plan'. Hitler scuttled the project late in 1941, as he believed that it might entail Dust Bowl conditions.[2]

German racial anthropologist Theodor Poesche had proposed, in the late 19th century, that the Aryan race evolved in the marshes because of the prevalence of albinism.

In 1942, after an uprising, approximately 1,000 Jews escaped from the Łachwa Ghetto, of whom about 600 were able to take refuge in the Pinsk Marshes.

Known as Pripjet-Sümpfe by the Germans, the wetlands were dreaded by the Wehrmacht troops. During the German invasion of the Soviet Union, the Third Reich armies skirted the wetlands, passing through the north or south of it. However, after the debacle of the Eastern Front in 1944, many retreating units such as the 7th, 35th, 134th and 292nd Infantry Divisions had to cut across the marshy areas. They often needed to build tracks with logs over which they could pull light loads in horse-drawn vehicles.[3]

Proposed drainage in 1950s[խմբագրել | խմբագրել կոդը]

There was a plan to drain the wetlands during 1952, when the area of the marshes was under Soviet administration.[4]

Chernobyl nuclear disaster[խմբագրել | խմբագրել կոդը]

In 1986, the region became world-famous because of the Chernobyl disaster; however, the Pripet Marshes should not be confused with the ghost city of Pripyat. That ill-fated community within the Chernobyl Exclusion Zone is located 356 km (221 mi) east-southeast of the geographic center of the Pinsk Marshes area.

See also[խմբագրել | խմբագրել կոդը]

References[խմբագրել | խմբագրել կոդը]

  1. Wetlands Under Threat. World Wide Fund For Nature Living Waters Campaign. Issues Brief 1, p. 1
  2. Blackbourn, David, (2006). The Conquest of Nature: Water, Landscape and the Making of Modern Germany. Jonathan Cape.
  3. Pictorial History Of The Second World War; Volume III - Fighting on the Pripet Marshes
  4. Karakov, G. (George), 1952 plan for the draining of the Pripet Marshes. New York, N.Y. : Research Program on the U.S.S.R., 1953 (OCoLC)623960881.

External links[խմբագրել | խմբագրել կոդը]

Природа[խմբագրել | խմբագրել կոդը]

Налибокская пуща — сплошной массив в бассейнах Западной Березины и Усы. Принадлежит к Неманско-Передполесскому геоботаническому округу подзоны грабово-дубово-темнохвойных лесов[1].

Налибокская пуща занимает восточную часть озёрно-ледниковой и аллювиальной Верхнянеманской низменности. Рельеф волнистый. Структура ландшафта, в основном, равнинная с дюно- и моренно-холмистыми формами и заболоченными понижениями. На юге массива находится озеро Кромань.

Леса имеют характер переходной полосы от южнотаежных темнохвойных к западноевропейким широколистным. Преобладают боры. Сосняки перемешиваются с ельниками, березняками и осинниками. Дубрав мало. По южно-западной части Налибокской пуще проходит северная граница сплошного распространения граба, встречается он здесь в основным в подлесках.

Почвы преимущественно дерново-подзолистые песчаные и супесчаные. Наиболее заболоченная территория по долинах рек Березина, Ислочь, Волка и в нижнем течении Усы, где на торфяно-болотных почвах растут ольховники и березняки. Среди еловых лесов много черничных и кисличных. Центральная и восточная часть пущи меньше заболоченная, здесь распространены сосняки разных типов — от вересково-имшыстых к верховым сфагновым. Распространённые производные бородавчатоберезового леса. Встречаются ясеневые леса. Среди редких растений: арника горная, лунник оживающий, лилия кудреватая и др.

Фауна пущи характерная для лесов средней полосы Белоруссии. Распространённые: зубр, олень, лось, кабан, лис, енотовидная собака, лесная куница, чёрный хорек, норка, горностай, заяц-русак; в водоёмах и поймах — бобр, выдра[2]. Птицы: глухарь, тетерев, рябчик, чёрный аист, малый подорлик, обыкновенный зимородок и др. В реках встречается редкий для Белоруссии вид рыб — хариус. Вначале XXI века после почти векового отсутствия в Налибоцкую пущу вернулись бурые медведеди, предполагается, что они перешли в пущу с Березинского заповедника[3]. центр|мини|449x449пкс|Серия почтовых марок Белоруссии «Налибокская пуща»

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Karlsplatz Stadtbahn Station in Vienna, Austria

Կառլսպլաց (մետրոյի կայարան) (գերմ.՝ Karlsplatz Stadtbahn Station), Ավստրիայի մայրաքաղաք Վիեննայի մետրոյի կայարաններից մեկը, որը նախկինում եղել է երկաթուղային կայարան՝ Wiener_Stadtbahn: Կառսպլացի վերգետնյա շինությունները ճարտարապետական Jugendstil ոճի հանրահայտ նմուշօրինակներ են և ընդգրկված են Vienna Secession կոչվող հուշարձանախմբի մեջ, քանզի պարունակում են Jugendstil ոճային շարժման բազմաթիվ ուշագրավ տարրեր: Դրանք նախագծվել են Վիեննայի տրանսպորտային հանձնաժողովի խորհրդական Օտտո Վագների[4] ու Յոզեֆ Մարիա Օլբրիխի կողմից և, ի տարբերություն համանման այլ կայարանների, պատրաստված են պողպատե հսկա շրջանակներից և մարմարե արտաքին սյուներից[5]: Կայարանային շենքերի այդ կառուցվածքում Օտտո Վագները հասել է իր գլխավոր նպատակին՝ արարելով ճարտարապետական երկու արդիական առանցք մի քաղաքում, որը դարձել էր իր ժամանակների ամենանորաձև քաղաքներից մեկը (ի դեպ, կայարանային այդ շենքերը շարունակում են պահպանել նորաձև քաղաքի ամենանորաձև ճարտարապետական հուշարձանների իրենց համարումն ու համբավը):

Ճարտարապետության քննադատ և բանաստեղծ Ֆրիդրիխ Ախլայտները այսպես է մեկնաբանել Stadtbahn-ի շինությունները. "...Կայարանային այդ երկու կառույցներում Վագները հասել է իր դիալեկտիկայի բարձրակետին՝ պլանավորելով Stadtbahn-ը գործնականի և բանաստեղծականի միջև, կառուցվածքայինի և զարդարունության միջև, այնպես, որ դրանց մեջ խստագույն ռացիոնալիզմը մրցակցում է զարդարունության վերին աստիճանի հետ":

Կայարանը բացվել է 1899 թվականին, որպես 'Akademiestraße': 1981 թվականին, երբ Stadtbahn երկաթուղին վերափոխվեց մետրոյի գծի, նախատեսված էր կայարանի հին շենքը վերացնել, սակայն հասարակության բողոքի հզոր ձայնը արգելեց գնալու այդ քայլին: Երկու շինությունները քանդվեցին և մետրոյի շինարարության ավարտից հետո, նորացված՝ վերակառուցվեցին իրենց նախկին տեղից երկու մետր վերևում: Կառույցներից մեկը ներկայումս ծառայում է որպես Վիեննայի թանգարանի ցուցադրանքի տարածք՝ ետնամասում ունենալով ելք դեպի մետրոյի կայարան, իսկ մյուս շենքը վերածվել է վիեննական սրճարանի:

Ծանոթագրություններ[խմբագրել | խմբագրել կոդը]

  1. Беларуская ССР. Кароткая энцыклапедыя. Т. 2. Мн., БелСЭ. 1979. С. 464.
  2. Vasili Shakun (Васіль Шакун): «European bison (Bison bonasus) in the central Belarus: current state and prospects of conservation of the free-ranging population ‚Volozhinskaya’.» European Bison Conservation Newsletter, Vol 5 (2012) pp: 95-102. (англійская мова)
  3. nalibaki.org
  4. Mary Ann Sullivan։ «Subway Pavilion, Karlsplatz» 
  5. Vienna Museum Guide։ Pichler Verlag։ 2000։ ISBN 3-85058-177-2 

Արտաքին հղումներ[խմբագրել | խմբագրել կոդը]

Name and etymology[խմբագրել | խմբագրել կոդը]

The word ćevap comes from Turkish kebab, sometimes with the South Slavic diminutive ending -čići (Albanian: Qebapa/Qofte; Croatian: ćevapčići/ćevapi; Slovene: čevapčiči/čevapi; Bosnian, սերբ.՝ ћевапи/ћевапчићи ćevapi/ćevapčići; մակեդ.՝ ќебапчиња, kjebapčinja; բուլղար․՝ Кебапчета, kebapcheta, չեխ․՝ čevabčiči, սլովակ.՝ čevapčiči). The word ćevapi is plural; the singular form ćevap is rarely used, as a typical serving consists of several ćevapi.

History[խմբագրել | խմբագրել կոդը]

Ćevapi in somun, with onion, from Sarajevo.

During the Ottoman administration, hajduks (rebels, outlaws) made the hajdučki ćevap ("hajduk cevap"), which was easy to make, out of pieces of meat and smoked lard on a skewer roasted over fire.[1] The recipe of the Leskovački ćevap ("Leskovac ćevap"), a local specialty of Serbia, was based on traditional Pljeskavica (meat patty[2]), formed as sausage (ćevap). Leskovac has a long history of grill shops.[3] In Belgrade, ćevapčići first came from Leskovac in the 1860s, into the kafana "Rajić" at the Great Marketplace (today Studentski Trg), from where they quickly spread across the city, and subsequently, country.[4][5] The industry quickly multiplied, as ćevapčići was the drinking public's favourite.[5]

The ćevapčići were served at shops, known as ćevabdžija (Կաղապար:Plural abbr ćevabdžije).[6] A 1927–28 study in Belgrade told that people either ate in the restaurant or outside ("on the kaldrma"), often take-away.[6] The shops served from early morning to 10 AM, while often the dish was bought for breakfast.[6]

Before the 1930s, they spread to the rest of Yugoslavia, including east of Serbia and the Macedonia region.[4] By 1932, ćevapčići were regarded a local specialty in southern Serbia, Skopje and Peć.[7] In 1933, the first street food vendor appeared in Maribor, Slovenia, who came from Leskovac, and served grilled meat, including ćevapčići.[8] In 1940, ten pieces cost one Yugoslav dinar.[9] In the second half of the 20th century, ćevapčići and other Oriental dishes entered Croatian cuisine.[10] The Leskovac-styled grilled meat, including ćevapčići, have today become part of everyday-diet in Slovenia.[11] Today, ćevapčići are found outside former Yugoslavia in the diaspora communities.

Today, the grill shops are known as ćevabdžinica (pl. ćevabdžinice).

Leskovac organizes an annual grill festival, the Leskovac Grill Festival, as a showcase of ćevapi and other grilled meat.

Preparation[խմբագրել | խմբագրել կոդը]

A type of mixed-meat Serbian Ćevapčići.

Կաղապար:Unreferenced section They are usually served of 5-10 pieces on a plate or in a flatbread (lepinje or somun), often with chopped onions, sour cream, kajmak, ajvar, cottage cheese, minced red pepper and salt. Bosnian-type ćevapi (halal) are made from two types of minced beef meat, hand mixed and formed with a funnel, while formed ćevapi are grilled. Serbian-type ćevapi (ćevapčići) are made of either beef, lamb or pork, or mixed.

In Austria, Czech Republic and Slovakia, čevapčiči is generally served with mustard mixed with finely chopped raw onions and potatoes or French fries, in a common fast food manner.

Varieties[խմբագրել | խմբագրել կոդը]

Ćevapčići are shown on the right in this example of Serbian cuisine.
  • Sarajevski ćevap, from Sarajevo, Bosnia, meat mix of beef and sheepmeat
  • Travnički ćevapi, from Travnik, Bosnia, meat mix of beef, veal, mutton and lamb
  • Banjalučki ćevapi, from Banja Luka, Bosnia, beef meat
  • Tuzlanski ćevapi, from Tuzla, Bosnia, meat mix of beef, mutton and lamb
  • Novopazarski ćevap, from Novi Pazar, Serbia, traditionally sheepmeat
  • Leskovački ćevap, from Leskovac, Serbia, veal meat
  • šiš-ćevap

There are variations in meat content and seasoning. The dish is kept simple, and traditionally served in somun with onions and/or kajmak and yogurt as appetizer.

See also[խմբագրել | խմբագրել կոդը]

Portal.svg  Food

References[խմբագրել | խմբագրել կոդը]

  1. Yugoslavia։ D. McKay.։ 1962։ «... Turkish occupation the outlaws produced hajduCki cevap (the haiduk was the maquis of the period) which was easy to make and tasty. It consists of pieces of meat, potatoes and smoked lard stuck on a skewer and roasted over a roaring fire.» 
  2. Laurence Mitchell (2013)։ Serbia։ Bradt Travel Guides։ էջ 83։ ISBN 978-1-84162-463-1։ «For the main course, the most popular meat dishes are pljeskavica (meat patties, usually a mixture of pork, beef and lamb, sprinkled with spices, then grilled and served with onion)» 
  3. Sergije Dimitrijević (1983)։ Istorija Leskovca i okoline։ Narodni muzej։ «Гастрономски специјалитет Лесковца били су 'ћевапчићи и чувене лесковачке кобасице печене на роштиљу.4 Лесковац је одувек имао чувене ћевабџије. У периоду који описујемо најпознатије лесковачке ћевабџије биле су ...» 
  4. 4,0 4,1 Darko Spasić, Branislav Nušić։ «Прилог историјату ћевапчића» (Serbian)։ Srpsko nasleđe 
  5. 5,0 5,1 Branislav Đ Nušić, Aleksandra Vraneš (1996)։ Beogradska čaršija։ Ars Libri։ էջեր 22–30 
  6. 6,0 6,1 6,2 Srpski etnografski zbornik 42։ Akademija։ 1928։ էջեր 121–122 
  7. Milivoja M. Savić (1932)։ Naša industrija, zanati, trgovina i poljoprivreda: njine osnovice, stanje, odnosi, važnost, putevi, prošlost i budućnost։ Izd. Ministarstva trgovine i industrije։ էջ 244 
  8. Eating Out in Europe: Picnics, Gourmet Dining and Snacks Since the Late Eighteenth Century։ 2003։ էջ 133 
  9. Etnografski muzej u Beogradu, Borivoje M. Drobnjaković (1940)։ Glasnik: Bulletin։ «Десет ћевапчића за данар, десет за динар! Скупи се гомила и гледа: Добри ћевапчићи, па и велики, а десет за ...» 
  10. Ivo Goldstein (1999)։ Croatia: A History։ McGill-Queen's Press - MQUP։ ISBN 978-0-7735-2017-2։ «To all this must be added, especially in the second half of the twentieth century, the influence of typical oriental-Turkish dishes and ways of cooking (barbecue, cevapcici).» 
  11. Կաղապար:Cite document

External links[խմբագրել | խմբագրել կոդը]

Տես՝ cevapi Վիքիբառարան, բառարան և թեզաուրուս

Vegetable dishes[խմբագրել | խմբագրել կոդը]

  • Đuveč – vegetable stew, similar to the Romanian ghiveci and Bulgarian gjuvec
  • Grašak – pea stew
  • Kačamak – a traditional Bosnian dish made of cornmeal and potatoes
  • Kljukuša – grated potatoes mixed with flour and water and baked in an oven; a traditional dish in the region of Bosanska Krajina
  • Sataraš – a dish made with bell peppers, eggplants, onions and tomatoes
  • Turšija – pickled vegetables
  • Buranija - green beans soup. Can be cooked with meat and sometimes served with kajmak .
  • Bamija

Appetizers[խմբագրել | խմբագրել կոդը]

  • Meze - an assortment of meats, vegetables, or other small dishes served before a meal

Cheeses[խմբագրել | խմբագրել կոդը]

Cheese from Livno

Desserts[խմբագրել | խմբագրել կոդը]

  • Baklava
  • Halva
  • Bombica
  • Hurmašica – date-shaped pastry drenched in a sweet syrup
  • Jabukovača – pastry made of filo dough stuffed with apples
  • Kadaif
  • Krofna - filled doughnut
  • Krempita
  • Oblatna
  • Orašnica
  • Palačinka (crêpe)
  • Pekmez
  • Rahatlokum (Turkish Delight)
  • Ružica – similar to baklava, but baked in a small roll with raisins[1]
  • Ruske Kape (trans. Russian Caps, plural)
  • Šampita - a whipped marshmallow-type dessert with fillo dough crust
  • Sutlijaš (rice pudding)
  • Tufahija – whole stewed apple stuffed with a walnut filling
  • Tulumba - deep-fried dough sweetened with syrup

Relishes, seasoning and bread[խմբագրել | խմբագրել կոդը]

Alcoholic beverages[խմբագրել | խմբագրել կոդը]

Wines are produced mainly in Herzegovina, in the regions of Mostar, Čitluk, Ljubuški, Stolac, Domanovići, and Međugorje.

Non-alcoholic beverages[խմբագրել | խմբագրել կոդը]

Kitchenware[խմբագրել | խմբագրել կոդը]

Персональные выставки[խմբագրել | խմբագրել կոդը]

Образ в искусстве[խմբագրել | խմբագրել կոդը]

Шерман посвящён игровой короткометражный фильм французского кинорежиссёра Бертрана Бонелло Cindy: The doll is mine (2005), в роли художницы и её двойника снялась Азия Ардженто.

Литература[խմբագրել | խմբագրել կոդը]

  • Krauss R.E. Cindy Sherman, 1975—1993. New York: Rizzoli, 1993
  • Morris C. The essential Cindy Sherman. New York; London: Harry N. Abrams, 1999
  • Inverted Odysseys: Claude Cahun, Maya Deren, Cindy Sherman/ Shelley Rice, ed. Cambridge: MIT Press, 1999
  • Durand R. Cindy Sherman. Paris: Flammarion, 2006
  • Петровская Е. Антифотография. М.: Три квадрата, 2003
  • Краусс Р. Холостяки. М.: Прогресс-Традиция, 2004
  • Томкинс К. Жизнеописания художников. — Москва: V-A-C press, 2013. — 272 p. — 1500 экз. — ISBN 978-5-9904389-2-7

Примечания[խմբագրել | խմբագրել կոդը]

  1. «Bakeproof: Bosnian baking»։ Sbs.com.au։ Վերցված է 12 December 2017 
  2. «Sarajevski somuni: Miris mahale, tradicije i savršenstva»։ klix.ba։ 3 September 2015 
  3. «Ramazanski somun»։ moje-zdravlje.ba։ 3 September 2015 

Ссылки[խմբագրել | խմբագրել կոդը]

На русском языке:

Категория:Современные художники США Категория:Фотографы США Категория:Лауреаты стипендии Мак-Артура

Singles (3 titles, 6 runners-up)[խմբագրել | խմբագրել կոդը]

Legend (Singles)
Grand Slam (0)

- style="background:#ffc;"

Tennis Masters Cup (0)
ATP Masters Series (1)
ATP International Series Gold (1)
ATP Tour (1)

Outcome No. Date Tournament Surface Opponent Score
Winner 1. 13 April 1998 Tokyo, Japan Hard 22px Byron Black 6–3, 6–4
Runner-up 1. 26 April 1999 Munich, Germany Clay 22px Franco Squillari 4–6, 3–6
Runner-up 2. 14 June 1999 s’Hertogenbosch, Netherlands Grass 22px Patrick Rafter 6–3, 6–7, 4–6
Winner 2. 22 May 2000 St. Pölten, Austria Clay 22px Andrew Ilie 7–5, 3–6, 6–2
Winner 3. 30 July 2001 Montreal, Canada Hard 22px Patrick Rafter 7–6, 2–6, 6–3
Runner-up 3. 27 October 2003 Paris, France Carpet 22px Tim Henman 2–6, 6–7, 6–7
Runner-up 4. 25 April 2005 Munich, Germany Clay 22px David Nalbandian 4–6, 1–6
Runner-up 5. 22 May 2006 Portschach, Austria Clay {{{2}}} Nikolay Davydenko 0–6, 3–6
Runner-up 6. 23 July 2007 Umag, Croatia Clay 22px Carlos Moyà 4–6, 2–6

Doubles (6 titles, 5 runners-up)[խմբագրել | խմբագրել կոդը]

Outcome No. Date Tournament Surface Partner Opponents Score
Winner 1. 21 September 1998 Bucharest, Romania Clay 22px Gabriel Trifu 22px George Cosac
22px Dinu Pescariu
7–6(7–2), 7–6(7–4)
Runner-up 1. 14 February 1999 St. Petersburg, Russia Carpet 22px Menno Oosting {{{2}}} Jeff Tarango
22px Daniel Vacek
6–3, 3–6, 5–7
Runner-up 2. 10 January 2005 Doha, Qatar Hard {{{2}}} Mikhail Youzhny 22px Albert Costa
22px Rafael Nadal
3–6, 6–4, 3–6
Winner 2. 31 July 2005 Kitzbühel, Austria Clay 22px Leoš Friedl 22px Christophe Rochus
22px Olivier Rochus
6–2, 6–7(5–7), 6–0
Runner-up 3. 18 September 2005 Bucharest, Romania Clay 22px Victor Hănescu 22px José Acasuso
22px Sebastián Prieto
3–6, 6–4, 3–6
Winner 3. 15 January 2006 Auckland, New Zealand Hard 22px Rogier Wassen {{{2}}} Simon Aspelin
22px Todd Perry
3–6, 7–5, [4–10]
Winner 4. 7 May 2006 Munich, Germany Clay 22px Alexander Waske 22px Alexander Peya
22px Björn Phau
6–4, 6–2
Winner 5. 16 July 2006 Gstaad, Switzerland Clay 22px Jiří Novák 22px Marco Chiudinelli
22px Jean-Claude Scherrer
6–3, 6–1
Runner-up 4. 25 February 2007 Rotterdam, Netherlands Hard 22px Alexander Waske 22px Martin Damm
22px Leander Paes
3–6, 7–6(7–5), [7–10]
Winner 6. 29 April 2007 Barcelona, Spain Clay 22px Alexander Waske 22px Rafael Nadal
22px Bartolomé Salvá-Vidal
6–3, 7–6(7–1)
Runner-up 5. 23 May 2009 Kitzbühel, Austria Clay 22px Horia Tecău 22px Marcelo Melo
22px André Sá
7–6(11–9), 2–6, [7–10]

Singles performance timeline[խմբագրել | խմբագրել կոդը]

Կաղապար:Performance key

Tournament 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 W ‑ L Win %
Grand Slam Tournaments
Australian Open A A A A A A LQ 1R A 4R A 2R 3R 1R 4R 2R 2R LQ 1R 1R 11–10 52.38
French Open A A A A A A A 2R A 1R 1R 1R QF A 2R 1R 1R LQ A 1R 6–9 40
Wimbledon A A A A LQ A LQ 2R 1R 1R 3R 1R 3R A 2R 2R 2R 2R A 1R 9–11 45
US Open A A A A LQ A 1R 1R 1R 1R 4R 2R 1R A 4R[a] 1R 1R 2R A 1R 8–11 42.11
Win–Loss 0–0 0–0 0–0 0–0 0–0 0–0 0–1 2–4 0–2 3–4 5–3 2–4 8–4 0–1 8–3 2–4 2–4 2–2 0–1 0–4 34–41 45.33
Olympic Games
Singles NH 1R Not held 1R Not held 1R Not held 1R Not held A NH N/A
ATP Masters Series 1000
Indian Wells Masters A A A A A A A A A LQ A 1R 2R 1R 2R 3R 1R LQ A A
Miami Masters A A A A A A A A A 3R 3R 4R QF 2R QF 1R 1R LQ A A
Monte Carlo Masters A A A A A A A A A 2R LQ 2R 3R A 3R A A 1R A A
Rome Masters A A A A A A A A A A 3R 1R 2R A QF 1R A A A A
Madrid Masters(Stuttgart) A A A A A LQ LQ LQ 2R QF QF 2R 1R LQ 3R 1R A 1R A A
Canada Masters A A A A A A A A A A 2R W 2R A 1R 2R A A A A
Cincinnati Masters A A A A A A A A A 1R 1R 2R 1R A 1R 1R A LQ A A
Paris Masters A A A A A 1R A A LQ A 1R 1R 1R F 3R 1R A A A
Hamburg Masters A A A A A A A A A A SF 1R 2R A 3R 1R A LQ A
Year End Ranking 460 548 489 311 408 214 135 118 68 41 27 28 26 69 18 80 113 75 1142 600 NA

[a]2004 US Open counts as 3 wins, 0 losses. Roger Federer walkover in round 4, after Pavel withdrew because of a back injury, [1] does not count as a Pavel loss (nor a Federer win).

Classement ATP en fin de saison[խմբագրել | խմբագրել կոդը]

En simple[խմբագրել | խմբագրել կոդը]

Année 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008
Rang 460 Կաղապար:Diminution 548 Կաղապար:Augmentation 489 Կաղապար:Augmentation 311 Կաղապար:Diminution 408 Կաղապար:Augmentation 214 Կաղապար:Augmentation 140 Կաղապար:Augmentation 109 Կաղապար:Augmentation 66 Կաղապար:Augmentation 42 Կաղապար:Augmentation 27 Կաղապար:Diminution 28 Կաղապար:Augmentation 26 Կաղապար:Diminution 72 Կաղապար:Augmentation 20 Կաղապար:Diminution 67 Կաղապար:Diminution 115 Կաղապար:Augmentation 76 Կաղապար:Diminution 1147

En double[խմբագրել | խմբագրել կոդը]

Année 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008
Rang 677 Կաղապար:Augmentation 376 Կաղապար:Diminution 718 Կաղապար:Augmentation 529 Կաղապար:Augmentation 267 Կաղապար:Augmentation 200 Կաղապար:Augmentation 172 Կաղապար:Diminution 241 Կաղապար:Augmentation 200 Կաղապար:Augmentation 112 Կաղապար:Diminution 442 Կաղապար:Augmentation 260 Կաղապար:Augmentation 65 Կաղապար:Diminution 1011 Կաղապար:Augmentation 74 Կաղապար:Augmentation 39 Կաղապար:Diminution 42 Կաղապար:Augmentation 22 Կաղապար:Diminution 581

Source : Կաղապար:Stats ITF

Notes et références[խմբագրել | խմբագրել կոդը]


Slava sahakyan/Ավազարկղ

Նիկոլայ Ժուռավսկի (ռուս․՝ Никола́й Афана́сьевич Жура́вский, ), մոլդովացի թիավարող մարզիկ, ով իր ընկերակցի՝ Վիկտոր Ռենեյսկու հետ օլիմպիական ոսկե և արծաթե մեդալներ է նվաճել։ 1988 թվականին նրան շնորհվել է ԽՍՀՄ սպորտի վաստակավոր վարպետի պատվավոր կոչում։

Հետագայում Ժուռավսկին երեք ժամկետ անընդմեջ ընտրվել ու ղեկավարել է Մոլդովայի Հանրապետության օլիմպիական ազգային կոմիտեն։

Կենսագրություն[խմբագրել | խմբագրել կոդը]

Թիավարություն մարզաձևով Նիկոլայ Ժուռավսկին սկսել է զբաղվել 14 տարեկանից՝ 1978 թվականից։ Նրա առաջին մարզիչը Պավել Կադնիկովն էր։ 1983 թվականից մարզվել է Ալեքսանդր Կիրպիչենկոյի ղեկավարությամբ։

1988 թվականին Սեուլում անցկացված ամառային օլիմպիական խաղերին մասնակցելով ԽՍՀՄ հավաքականի կազմում՝ Ժուռավսկին նվաճել է երկու ոսկե մեդալ։ Հաջորդած երեք տարիների ընթացքում կանոեներով թիավարության աշխարհի առաջնություններում ընդհանուր առմամբ նվաճել է ութ ոսկե մեդալ՝ հանդես գալով ինչպես երկտեղանի, այնպես էլ չորստեղանի նավակների մրցումներում։ Այդուհանդերձ՝ Ժուռավսկին ու Ռենեյսկին չեն ընդգրկվել 1992 թվականի ամառային օլիմպիական խաղերին նախապատրաստվող ԽՍՀՄ հավաքականի կազմում։ Այդ պատճառով էլ Ժուռավսկին համաձայնել է հանդես գալու Ռումինիայի դրոշի ներքո, բայց, ցավոք, այս անգամ մեդալ չի շահել։ Իսկ 1996 թվականի ամառային օլիմպիադային նա և Ռենեյսկին մասնակցել են անկախություն նվաճած Մոլդովայի ազգային հավաքականի կազմում և նվաճել են արծաթե մեդալ, որն առաջին օլիմպիական պարգևն էր անկախացած Մոլդովայի մարզական գանձանակում։

2001 թվականին Նիկոլայ Ժուռավսկին ընտրվել է Մոլդովայի ազգային օլիմպիական կոմիտեի նախագահ և դրան հաջորդած երկու ժամկետների համար անցկացված ընտրություններում վերընտրվել այդ պատվավոր ու պատասխանատու պաշտոնում[2]։

Վաստակի գնահատում[խմբագրել | խմբագրել կոդը]

Նիկոլայ Ժուռավսկին 1988 թվականին պարգևատրվել է ԽՍՀՄ-ի Ժողովուրդների բարեկամության, 1996 թվականին՝ մոլդովական Հանրապետություն շքանշանով։

Ծանոթագրություններ[խմբագրել | խմբագրել կոդը]

Արտաքին հղումներ[խմբագրել | խմբագրել կոդը]

Պատկերասրահ[խմբագրել | խմբագրել կոդը] Ստեղծագործության վերնագիրը Ստեղծման տարեթիվը Տեսակը Չափերը Ցուցադրման վայրը Նկարը Հարուստների խրախճանքը 1550 Յուղաներկ, կտավ 205|436|սմ Վենետիկի ակադեմիայի պատկերասրահ Սուրբ ընտանիքը սբ. Եկատերինայի և Անտոնիուս Մեծի հետ 1551 Յուղաներկ, կտավ San Francesco della Vigna եկեղեցի, Վենետիկ Cappella Giustinian Sacra Famiglia con Santa Caterina e Sant’Antonio Abate (1551) di Veronese.jpg Սբ. Անտոնիուսի փորձությունը 1552-1553 Յուղաներկ, կտավ 198|151|սմ Կաենի գեղարվեստի թանգարան Յուպիտերը ջախջախում է արատները 1553 v. Յուղաներկ, կտավ 650|330|սմ Լուվր, Փարիզ Paolo Veronese - Jupiter Hurling Thunderbolts at the Vices - WGA24935.jpg Մարկոս ավետարանիչ 1554 v. Յուղաներկ, կտավ 330|317|սմ Լուվր, Փարիզ provient du palais des Doges Յունոնը բաշխում է ընծաները Վենետիկին 1554-1556 Յուղաներկ, կտավ 365|147|սմ Դոժերի պալատ, Վենետիկ Paolo Veronese - Juno Showering Gifts on Venetia - WGA24937.jpg Տիրամոր թագադրումը 1555 Յուղաներկ, կտավ Սուրբ Սեբաստիան եկեղեցի, Վենետիկ 150px|vignette|centré Դավթի օծումը 1555 Յուղաներկ, կտավ 173|364|սմ Արվեստի պատմության թանգարան, Վիեննա, Vienne 150px|center Կնոջ դիմանկար 1555-1560 Յուղաներկ, կտավ 119|103|սմ Լուվր, Փարիզ Paolo Veronese 040.jpg Երաժշտություն /Վենետիկի գրադարանի առաստաղի նկարազարդումներից /[1] 1556-1557 Huile sur toile 230|սմ Bibliothèque Marciana, Venise Paolo Veronese - Music - WGA24949.jpg Ավետում 1555 v. Յուղաներկ, կտավ 193|291|սմ Ուֆֆիցի պատկերասրահ, Ֆլորենցիա Հրաժարումն Վաստիից 1555-1556 Յուղաներկ, կտավ 500|370|սմ Սուրբ Սեբաստիան եկեղեցի, Վենետիկ Paolo Veronese - The Banishment of Vashti - WGA24786.jpg Եսթեր 1555-1556 Յուղաներկ, կտավ 450|370|սմ Սուրբ Սեբաստիան եկեղեցի]], Վենետիկ Paolo Veronese - Esther Crowned by Ahasuerus - WGA24784.jpg Մարդոքի հաղթարշավը 1555-1556 Յուղաներկ, կտավ 500|370|սմ Սուրբ Սեբաստիան եկեղեցի, Վենետիկ Paolo Veronese - The Triumph of Mordecai - WGA24785.png Տիրամայրը Մանկան, սբ. Պետրոսի հետ 1555-1560 Յուղաներկ, կտավ 119|95|սմ Museo civico, Վենետիկ Veronese - madonna col bambino una santa martire e san pietro - Musei Civici Vicenza.jpg Իսեպո դել Պորտոն որդու հետ 1556 Յուղաներկ, կտավ 247|133|սմ Պիտտի, Ֆլորենցիա Iseppo da Porto -Veronese.jpg Հիսուսը բժիշկների հետ, տաճարում 1558 Յուղաներկ, կտավ 236|430|սմ Պրադո, Մադրիդ 150px|center Տիրամոր համբարձումը 1558 v. Յուղաներկ, կտավ 455|340|սմ Սան Ձանիպոլո բազիլիկ Chapel of our Lady of the Rosary of Santi Giovanni e Paolo (Venice) - Assumption Veronese.jpg Հովիվների երկրպագությունը 1558 v. Յուղաներկ, կտավ Սան Ձանիպոլո բազիլիկ, Վենետիկ Chapel of our Lady of the Rosary of Santi Giovanni e Paolo (Venice) - Veronese, Adoration of the Shepherds (v.1558).jpg Էմաուսի ուխտավորները 1559-1560 Յուղաներկ, կտավ 290|448|սմ Լուվր, Փարիզ Pèlerins d'Emmaüs Veronese retouched.jpg Տղամարդու դիմանկար 1560 v. Յուղաներկ, կտավ 120|102|սմ Բուդապեշտի գեղարվեստի թանգարան Քրիստոսի հարությունը 1560 v. Յուղաներկ, կտավ ... San Francesco della Vigna, Վենետիկ La Résurrection du Christ 1560 Véronèse.jpg Բազեպանը 1560 v. Յուղաներկ, կտավ 220|120|սմ Բեմբերգ, Թուլուզ Bemberg Fondation Toulouse - Le Fauconnier - Veronese - Ca 1560 Inv.1079.jpg Պերսևսը և Անդրոմեդան 1560 v. Յուղաներկ, կտավ 260|211|սմ Ռենի գեղարվեստի թանգարան Giustiniana Giustiniani et sa nourrice 1560-1561 Fresque Villa Barbaro, Մազեր Մարիամ Մագթաղինացի 1560-1575 Յուղաներկ, կտավ 170|135|սմ Կանադայի գեղարվեստի թանգարան Վեներան և Ադոնիսը 1561 Յուղաներկ, կտավ 123|174|սմ Staatliche Kunstsammlungen, Աուգսբուրգ Ռեբեկան և Եղիազարը 1550-1580 Յուղաներկ, կտավ 240|366|սմ Վերսալ, Հերակլեսի սրահ center|150px La Piscine probatique 1559-1560 Յուղաներկ, կտավ 490|190|սմ Սուրբ Սեբաստիան եկեղեցի]], Վենետիկ[1] Սուրբ Եկատերինայի խորհրդավոր ամուսնությունը 1560-1565 Յուղաներկ, կտավ 128|129|սմ Musée Fabre, Մոնպելյե Paolo Veronese 013.jpg Տիրամայրը փառքի մեջ, սբ. Պողոսի ու սբ. Պետրոսի հետ 1562 v. Յուղաներկ, կտավ Սուրբ Սեբաստիան եկեղեցի]], Վենետիկ Հովհաննես Մկրտիչ 1562 v. Յուղաներկ, կտավ Բորգեզե պատկերասրահ, Հռոմ center|150px Տիրամայրը սրբերի մեջ 1562 v. Յուղաներկ, կտավ 339|191|սմ Վենետիկի ակադեմիայի պատկերասրահ Accademia - Madonna col Bambino e i Santi Giuseppe, Giustina, Francesco, Giovanni Battista fanciullo e Girolamo by Veronese.jpg Վեներան ու Մերկուրին Յուպիտերի, Էրոսի ու Անտերոսի հետ 1562 v. Յուղաներկ, կտավ 150|243|սմ Ուֆֆիցի, Ֆլորենցիա Հարսանիք Կաննայում 1563 Յուղաներկ, կտավ 666|990|սմ Լուվր, Փարիզ center|150px Սուրբ ընտանիքը 1564 Յուղաներկ, կտավ 328|188|սմ Վենետիկի ակադեմիայի պատկերասրահ Սուրբ ընտանիքը մեծ նահատակ սբ. Բարբեի և մանկահասակ Հովհաննես Մկրտչի հետ 1564 v. Յուղաներկ, կտավ 86|122|սմ Ուֆֆիցի, Ֆլորենցիա Paolo Veronese - Holy Family with St Barbara and the Infant St John - WGA24826.jpg Ազնվականի դիմանկար 1565 Յուղաներկ, կտավ 140|107|սմ Պիտտի, Ֆլորենցիա Paolo Veronese - Gentleman in a Lynx Fur - WGA24981.jpg Մարկոս ավետարանիչն ու սբ. Մարսելինը քաջալերում են նահատակվող սբ. Սեբաստիանին 1565 Huile sur toile 355|540|սմ Սուրբ Սեբաստիան եկեղեցի, Վենետիկ Véronèse Sts Marc et Marcellin.jpg Սուրբ նահատակ Սեբաստիանը 1565 Յուղաներկ, կտավ 355|540|սմ Սուրբ Սեբաստիան եկեղեցի, Վենետիկ Paolo Veronese 025.jpg Կնոջ դիմանկար 1565 Յուղաներկ, կտավ Musée de la Chartreuse de Douai center|150px Այրի կնոջ որդու հարությունը 1565-1570 Յուղաներկ, կտավ 102|136|սմ Արվեստի պատմության թանգարան, Վիեննա Paolo Veronese 006.jpg Դարեհի ընտանիքը Ալեքսանդր Մեծի առջև 1565-1570 Յուղաներկ, կտավ 236|476|cm}} Ազգային պատկերասրահ, Լոնդոն center|150px Դանիել Բարբարոյի դիմանկարը 1565-1567 Յուղաներկ, կտավ 121|105|սմ Rijksmuseum, Ամստերդամ Paolo Veronese - Portret van Daniele Barbaro 001.JPG Իմաստության և Ուժի ալեգորիան կամ Omnia Vanitas 1567-1568 Յուղաներկ, կտավ 215|167|սմ Ֆրիքի հավաքածու, Նյու Յորք center|150px Պատիվն ու առաքինությունը ծաղկում են հետմահու 1567-1568 Յուղաներկ, կտավ 219|169|սմ Ֆրիքի հավաքածու, Նյու Յորք Paolo Veronese 036.jpg Քրիստոսի հարությունը 1570 v. Յուղաներկ, կտավ 136|104|սմ Gemäldegalerie Alte Meister, Դրեզդեն Վենետիկուհու դիմանկար 1570 v. Յուղաներկ, կտավ 117|101|սմ Alte Pinakothek, Մյունխեն center|150px Տղայի դիմանկար 1570 v. Յուղաներկ, կտավ Մետրոպոլիտեն թանգարան, Նյու Յորք Metropolitan Museum of Art, Veronese, Boy with a Greyhound-2.jpg Սիրո ալեգորիա (Union Heureuse) 1570 v. Յուղաներկ, կտավ 191|191|cm}} National Gallery Paolo Veronese - Allegory of Love, IV - Happy Union - WGA24961.jpg Սիրո ալեգորիա II (Infidélité) 1570 v. Յուղաներկ, կտավ 191|191|սմ National Gallery center|150px Սիրո ալեգորիա III (Respect) 1570 v. Յուղաներկ, կտավ 186|194|սմ National Gallery Veronese - Allegory of love Respect.jpg Սիրո ալեգորիա IV (Désenchantement) 1570 v. Յուղաներկ, կտավ 187|188|սմ National Gallery Veronese - Allegory of love Scorn.jpg Մովսեսի հայտնությունը 1570-1575 Յուղաներկ, կտավ 50|43|սմ Արվեստի պատմության թանգարան, Վիեննա center|150px Սուրբ Հեղինեի տեսիլքը(Véronèse, National Gallery)|La Vision de sainte Hélène]] 1570-1579 Huile sur toile 197|115|սմ National Gallery, Լոնդոն The Vision of Saint Helena veronese.jpg Մովսեսը ջուր որոնելիս 1570-1580 Յուղաներկ, կտավ 129|115|սմ Լիոնի գեղարվեստի թանգարան Moses saved from the water-Veronese-MBA Lyon A66-IMG 0313.jpg Ալեսանդրո Վիտտորիայի դիմանկարը 1570-1585 Յուղաներկ, կտավ 110|89|cm}} Մետրոպոլիտեն թանգարան, Նյու Յորք center|150px Հարսանիք Կանայում 1571 Յուղաներկ, կտավ 207|457|սմ Gemäldegalerie Alte Meister, Դրեզդեն 150px|center Կուչչինա ընտանիքի ներկայացումը Սուրբ Կույսին 1571 Յուղաներկ, կտավ 167|414|սմ Gemäldegalerie Alte Meister, Դրեզդեն Paolo Veronese - The Adoration of the Virgin by the Coccina Family - WGA24818.jpg Լեպանտեի ճակատամարտի ալեգորիան 1572 v. Յուղաներկ, կտավ 169|137|սմ Վենետիկի ակադեմիայի պատկերասրահ center|150px Սուրբ Գրիգորիս Մեծի ընթրիքը 1572 Յուղաներկ, կտավ 477|862|սմ Մոնտե Բերիկոյի սրբավայր, Վենետիկ Paolo veronese, cena di s. gregorio magno 04.JPG Խրախճանք Լևիի տանը 1573 Յուղաներկ, կտավ 555|310|սմ Վենետիկի ակադեմիայի պատկերասրահ Provient du couvent des Santi Giovanni e Paolo center|150px Սուրբ Ջուստինա Պադուացու նահատակությունը 1573 v. Յուղաներկ, կտավ 103|113|սմ Ուֆֆիցի, Ֆլորենցիա Paolo Veronese - Martirio di Santa Giustina - Google Art Project.jpg Մոգերի երկրպագությունը 1573] Յուղաներկ, կտավ 355|320|սմ National Gallery, Լոնդոն Paolo Veronese - Adoration of the Magi - WGA24820.jpg Միներվան պատիվներ է մատուցում Վեներային 1575 Յուղաներկ, կտավ 309|328|սմ Վենետիկի ակադեմիայի պատկերասրահ< Սուրբ Եկատերինայի խորհրդավոր ամուսնությունը 1575 v. Յուղաներկ, կտավ 337|241|սմ Վենետիկի ակադեմիայի պատկերասրահ< Provient de l'autel principal de l'Église Santa Caterina center|150px Վեներան, Մարսը, Կուպիդոնը և ձին 1575 v. Յուղաներկ, կտավ 47|47|սմ Galerie Sabauda (Թուրին) Paolo Veronese - Venus and Mars with Cupid and a Horse - WGA24966.jpg Բեթսաբեի լոգանքը 1575 v. Յուղաներկ, կտավ 232|242|սմ Լիոնի գեղարվեստի թանգարան center|150px Վեներայի հաղթարշավը 1575-1577 Յուղաներկ, կտավ 904|579|սմ Դոժերի պալատ, Վենետիկ center|150px Մարսն ու Նեպտունը 1575-1578 Huile sur toile 250|180|սմ Դոժերի պալատ, Վենետիկ Paolo Veronese - Mars and Neptune - WGA24924.jpg Վեներան, Արդարադատությունն ու Խաղաղությունը 1575-1578 Յուղաներկ, կտավ 250|180|սմ Դոժերի պալատ, Վենետիկ Paolo Veronese - Venetia between Justitia and Pax - WGA24923.jpg Հերակլեսն ու Սերեսը պատիվներ են մատուցում Վեներային 1575-1578 Յուղաներկ, կտավ 309|328|cm}} Վենետիկի ակադեմիայի պատկերասրահ Provient de la salle du Magistrato du palais des Doges Accademia - Veronese, Venezia riceve omaggio da Ercole e Cerere.jpg Դիալեկտիկա կամ Դիվանագիտություն 1575-1578 Յուղաներկ, կտավ 150|120|սմ Դոժերի պալատ, Վենետիկ Paolo Veronese - Dialectics - WGA24925.jpg Գերեզման իջեցնելը 1575-1580 Յուղաներկ, կտավ 92|13|սմ Ժնևի պատմության թանգարան center|150px Եսթերի ուշագնացությունը 1575-1580 Յուղաներկ, կտավ 198 x 306 սմ Լուվր, Փարիզ L'Evanouissement d'Esther.jpg Ազնվական տղամարդու դիմանկար 1576-1578 Յուղաներկ, կտավ 192|134|սմ J. Paul Getty Museum, Լոս Անջելես Paolo Veronese (Paolo Caliari) (Italian - Portrait of a Man - Google Art Project.jpg Mercure, Hersé et Aglauros 1576-1584 Յուղաներկ, կտավ 232|173|սմ Fitzwilliam Museum, Քեմբրիջ [2] Փարիսեցի Սիմոնի հացկերույթը 1576 Յուղաներկ, կտավ 474|974|սմ Վերսալյան պալատ, Հերակլեսի սրահ center|150px Կուպիդոնը միացնում է Մարսին ու Վեներային 1578v. Յուղաներկ, կտավ 206|161|սմ Մետրոպոլիտեն թանգարան, Նյու Յորք Paolo Veronese - Mars and Venus United by Love - Google Art Project.jpg Ավետում 1578 Յուղաներկ, կտավ 275|543|սմ Վենետիկի ակադեմիայի պատկերասրահ Accademia - The Annunciation - Veronese.jpg Esquisse pour le Paradis 1578-1582 Յուղաներկ, կտավ 87|234|սմ Լիլի գեղարվեստի պալատ /Ֆրանսիա/ Lille PdBA veronese esquisse paradis.JPG Եվրոպայի առևանգումը[3] 1580 Յուղաներկ, կտավ 240|303|սմ Դոժերի պալատ, Վենետիկ Vient du palais Contarini à San Samuele[1] Porwanie Europy.jpg Հիսուսն ու ցենտուրիոնը 1580 v. Յուղաներկ, կտավ 99|131|սմ Տոլեդոյի արվեստի թանգարան center|150px Սուրբ Հիերոնիմոսը անապատում 1580 v. Յուղաներկ, կտավ 142|116|սմ Արվեստի ազգային թանգարան/Վաշինգտոն, ԱՄՆ/ Saint Jérôme dans le désert.jpg Պրոկրիսի մահը 1580 Յուղաներկ, կտավ 162|190|սմ Ստրասաբուրգի գեղարվեստի թանգարան Cephalus and Procris.jpg Վեներան և Ադոնիսը 1580 Յուղաներկ, կտավ 212|190|սմ Պրադո, Մադրիդ Venus and adonis.jpg Մովսեսը ջուր փնտրելիս 1580 Յուղաներկ, կտավ 50|43|սմ [[Պրադո թանգարան (Մադրիդ) Paolo Veronese - The Finding of Moses - WGA24973.jpg Քրիստոսի մկրտությունը 1580 Յուղաներկ, կտավ 196|133|սմ Պիտտի, Ֆլորենցիա[4] Պանտալեոն Նիկոմեդացու վերափոխումը 1580 v. Յուղաներկ, կտավ 277|160|սմ Սան Պանտալոն եկեղեցի Paolo Veronese - Conversion of St Pantaleon - WGA24851.jpg Լուկրեցիա 1580 Յուղաներկ, կտավ 109|90|cm}} Արվեստի պատմության թանգարան, Վիեննա center|150px Moïse sauvé des eaux 1580 v. Յուղաներկ, կտավ 121.5 x174.8 սմ Դիժոնի գեղարվեստի թանգարան /Ֆրանսիա/ Հիսուսը Ձիթենյաց այգում 1580 v. Յուղաներկ, կտավ 80|108|սմ Pinacothèque de Brera, Միլան Անտուան Պադուացու քարոզը 1580 v. Յուղաներկ, կտավ Բորգեզե պատկերասրահ, Հռոմ center|150px Սուրբ Հեղինեի տեսիլքը 1580 v. Յուղաներկ, կտավ 166|134|սմ Pinacothèque du Vatican, Հռոմ 150px|vignette|centré Հուդիթը Հողոփեռնեսի գլխի հետ 1580 v. Յուղաներկ, կտավ 195|176|սմ Palazzo Rosso, Ճենովա Սուրբ Հիերոնիմոս 1580 v. Յուղաներկ, կտավ 251|167|սմ Վենետիկի ակադեմիայի պատկերասրահ Provient de l'Église Sant'Andrea della Zirada Paolo Veronese - St Jerome - WGA24840.jpg Եպիսկոպոս Նիկոլաս դը Միրեյ 1580-1582 Յուղաներկ, կտավ Gallerie dell'Accademia de Venise Վենետիկի Սան Նիկոլո դե Բարի եկեղեցու առաստաղը Accademia - San Nicolo riconosciuto vescovo di Myra - Veronese Cat.661.jpg Saint Marc, saint Jacques, saint Jérôme et le Christ mort soutenu par des anges 1581-1582 Յուղաներկ, կտավ 365|181|սմ Սան Ձուլիան եկեղեցի, Վենետիկ Paolo Veronese - Sts Mark, James and Jerome with the Dead Christ Borne by Angels - WGA24832.jpg Սուրբ Մարկոսը, սբ. Հակոբը, սբ. Հիերոնիմոսը և մահացած Քրիստոսը 1581-1582 Յուղաներկ, կտավ 365|181|սմ Institut Courtauld, Լոնդոն Paolo Veronese - Sts Mark, James and Jerome with the Dead Christ Borne by Angels - WGA24832.jpg Ողբ 1581-1582 Յուղաներկ, կտավ 147|115|սմ Էրմիտաժ, Սանկտ Պետերբուրգ Paolo Veronese - Pietà - WGA24830.jpg Գողգոթա 1582 v. Յուղաներկ, կտավ 102|102|սմ Լուվր, Փարիզ center|150px Քրիստոսի մկրտությունն ու փորձությունը 1582 Յուղաներկ, կտավ 55|46|սմ Pinacothèque de Brera, Միլան Paolo Veronese - Baptism and Temptation of Christ - WGA24834.jpg Ծնունդ 1582-1583 Յուղաներկ, կտավ 375|182|cm}} Սան Ջուզեպե դի Կաստելլո եկեղեցի, Վենետիկ Paolo Veronese - Adoration of the Shepherds - WGA24845.jpg Հուդիթը Հողոփեռնեսի գլխի հետ 1583-1585 Յուղաներկ, կտավ 111|100|սմ Արվեստի պատմության թանգարան, Վիեննա Paolo Caliari, called Veronese - Judith with the Head of Holofernes - Google Art Project.jpg Սուրբ Լյուսի Սիրակուզցու նահատակությունը 1585-1586 Յուղաներկ, կտավ 137|173|սմ National Gallery of Art, Վաշինգտոն, ԱՄՆ The Martyrdom and Last Communion of Saint Lucy 1582 Veronese.jpg Սուրբ Կույսի համբարձումը 1585-1587 Յուղաներկ, կտավ 472|302|սմ Վենետիկի ակադեմիայի պատկերասրահ Academia - Assumption of the Virgin by Veronese cat 541.jpg Սուրբ Կույսի համբարձումը 1586 Յուղաներկ, կտավ 398|200|սմ Վենետիկի ակադեմիայի պատկերասրահ Accademia - Assumption of the Virgin by Veronese cat265.jpg Քրիստոսի մկրտությունը 1588 Յուղաներկ, կտավe 55|46|սմ Institut Courtauld [5] Ագոստինո Բարբարիգոյի դիմանկարը Յուղաներկ, կտավ 60|48|սմ Բուդապեշտի գեղարվեստի թանգարան Սուսաննան և ծերուկները Յուղաներկ, կտավ 198|198|սմ Լուվր, Փարիզ center|150px Լեդան և կարապը Յուղաներկ, կտավ Musée Fesch, Այաչչո center|150px Զեբեյդայի կինը միջնորդում է իր զավակների համար Քրիստոսին Յուղաներկ, կտավ 180|360|սմ Burghley House, Քեմբրիջշիր Paolo Veronese - The Wife of Zebedee Interceding with Christ over her Sons (detail) - WGA24770.jpg Հերակլեսը, Դեյանիրան և կենտավրոսը tardive Յուղաներկ, կտավ 68|53|սմ Արվեստի պատմության թանգարան, Վիեննա Paolo Veronese - Ercole, Deianira e il centauro Nesso (KHM).jpg Եսթեր Յուղաներկ, կտավ 208|284|սմ Ուֆֆիցի, Ֆլորենցիա ↑ Jump up to: 1,0 1,1 1,2 Կաղապար:Ouvrage ↑ Hérmes, Hersé et Aglauros au Fitzwilliam ↑ L’Enlèvement d’Europe : il existe plusieurs versions d'atelier, avec de légères différences, notamment celle de la Pinacothèque des Musées du Capitole ↑ http://www.polomuseale.firenze.it/archiviofotografico/Esito.aspx ↑ Baptême du Christ, Institut Courtaul Նավարկման ցանկ աւանդականSlava sahakyan Alert (0) Notice (0) ՔննարկումՍևագրությունՆախընտրություններՓորձնականՀսկացանկՆերդրումԴուրս գալՄասնակցի էջՔննարկումԿարդալԽմբագրելԽմբագրել կոդըԴիտել պատմությունըՀսկել Ավելին Որոնել

Որոնել Վիքիպեդիա կայքում Անցնել Գլխավոր էջ Կատեգորիաներ Օրացույց Պատահական էջ Նոր էջեր Ընթացիկ իրադարձություններ Մասնակցել Էությունը Խորհրդարան Վերջին փոփոխություններ Օգնություն Նվիրաբերել Գործիքներ Այստեղ հղվող էջերը Կապված փոփոխություններ Մասնակցի ներդրում Տեղեկամատյաններ Ուղարկել էլ. նամակ այս մասնակցին Տեսնել մասնակից խումբը Բեռնել նիշք Սպասարկող էջեր Մշտական հղում Էջի վիճակագրություն Տպել/արտահանել Ստեղծել գիրք Ներբեռնել որպես PDF Տպելու տարբերակ

Լեզուներ Այս էջը վերջին անգամ փոփոխվել է 10 Մարտի 2019 թվականի ժամը 13:59-ին: Տեքստը հասանելի է Քրիեյթիվ Քոմոնս Հղման-Համանման տարածման թույլատրագրի ներքո, առանձին դեպքերում հնարավոր են հավելյալ պայմաններ։ Մանրամասնությունների համար այցելեք՝ Օգտագործման պայմաններ։

Dutch Golden Age painting is the painting of the Dutch Golden Age, a period in Dutch history roughly spanning the 17th century,[1] during and after the later part of the Eighty Years' War (1568–1648) for Dutch independence.

The new Dutch Republic was the most prosperous nation in Europe and led European trade, science, and art. The northern [[Terminology of the Low == Ծանոթագրություններ ==

  1. In general histories 1702 is sometimes taken as the end if the Golden Age, a date which works reasonably well for painting. Slive, who avoids the term (see p. 296), divides his book into two parts: 1600–1675 (294 pages) and 1675–1800 (32 pages).

Countries|Netherlandish]] provinces that made up the new state had traditionally been less important artistic centres than cities in Flanders in the south. The upheavals and large-scale transfers of population of the war, and the sharp break with the old monarchist and Catholic cultural traditions, meant that Dutch art had to reinvent itself. The painting of religious subjects declined sharply, but a large new market for all kinds of secular subjects grew up.

Countries|Netherlandish]] provinces that made up the new state had traditionally been less important artistic centres than cities in Flanders in the south. The upheavals and large-scale transfers of population of the war, and the sharp break with the old monarchist and Catholic cultural traditions, meant that Dutch art had to reinvent itself. The painting of religious subjects declined sharply, but a large new market for all kinds of secular subjects grew up.

Countries|Netherlandish]] provinces that made up the new state had traditionally been less important artistic centres than cities in Flanders in the south. The upheavals and large-scale transfers of population of the war, and the sharp break with the old monarchist and Catholic cultural traditions, meant that Dutch art had to reinvent itself. The painting of religious subjects declined sharply, but a large new market for all kinds of secular subjects grew up.

Countries|Netherlandish]] provinces that made up the new state had traditionally been less important artistic centres than cities in Flanders in the south. The upheavals and large-scale transfers of population of the war, and the sharp break with the old monarchist and Catholic cultural traditions, meant that Dutch art had to reinvent itself. The painting of religious subjects declined sharply, but a large new market for all kinds of secular subjects grew up.

Countries|Netherlandish]] provinces that made up the new state had traditionally been less important artistic centres than cities in Flanders in the south. The upheavals and large-scale transfers of population of the war, and the sharp break with the old monarchist and Catholic cultural traditions, meant that Dutch art had to reinvent itself. The painting of religious subjects declined sharply, but a large new market for all kinds of secular subjects grew up.

Countries|Netherlandish]] provinces that made up the new state had traditionally been less important artistic centres than cities in Flanders in the south. The upheavals and large-scale transfers of population of the war, and the sharp break with the old monarchist and Catholic cultural traditions, meant that Dutch art had to reinvent itself. The painting of religious subjects declined sharply, but a large new market for all kinds of secular subjects grew up.

Countries|Netherlandish]] provinces that made up the new state had traditionally been less important artistic centres than cities in Flanders in the south. The upheavals and large-scale transfers of population of the war, and the sharp break with the old monarchist and Catholic cultural traditions, meant that Dutch art had to reinvent itself. The painting of religious subjects declined sharply, but a large new market for all kinds of secular subjects grew up.

Countries|Netherlandish]] provinces that made up the new state had traditionally been less important artistic centres than cities in Flanders in the south. The upheavals and large-scale transfers of population of the war, and the sharp break with the old monarchist and Catholic cultural traditions, meant that Dutch art had to reinvent itself. The painting of religious subjects declined sharply, but a large new market for all kinds of secular subjects grew up.

Countries|Netherlandish]] provinces that made up the new state had traditionally been less important artistic centres than cities in Flanders in the south. The upheavals and large-scale transfers of population of the war, and the sharp break with the old monarchist and Catholic cultural traditions, meant that Dutch art had to reinvent itself. The painting of religious subjects declined sharply, but a large new market for all kinds of secular subjects grew up.

Countries|Netherlandish]] provinces that made up the new state had traditionally been less important artistic centres than cities in Flanders in the south. The upheavals and large-scale transfers of population of the war, and the sharp break with the old monarchist and Catholic cultural traditions, meant that Dutch art had to reinvent itself. The painting of religious subjects declined sharply, but a large new market for all kinds of secular subjects grew up.

Countries|Netherlandish]] provinces that made up the new state had traditionally been less important artistic centres than cities in Flanders in the south. The upheavals and large-scale transfers of population of the war, and the sharp break with the old monarchist and Catholic cultural traditions, meant that Dutch art had to reinvent itself. The painting of religious subjects declined sharply, but a large new market for all kinds of secular subjects grew up.

Countries|Netherlandish]] provinces that made up the new state had traditionally been less important artistic centres than cities in Flanders in the south. The upheavals and large-scale transfers of population of the war, and the sharp break with the old monarchist and Catholic cultural traditions, meant that Dutch art had to reinvent itself. The painting of religious subjects declined sharply, but a large new market for all kinds of secular subjects grew up.

Countries|Netherlandish]] provinces that made up the new state had traditionally been less important artistic centres than cities in Flanders in the south. The upheavals and large-scale transfers of population of the war, and the sharp break with the old monarchist and Catholic cultural traditions, meant that Dutch art had to reinvent itself. The painting of religious subjects declined sharply, but a large new market for all kinds of secular subjects grew up.

Countries|Netherlandish]] provinces that made up the new state had traditionally been less important artistic centres than cities in Flanders in the south. The upheavals and large-scale transfers of population of the war, and the sharp break with the old monarchist and Catholic cultural traditions, meant that Dutch art had to reinvent itself. The painting of religious subjects declined sharply, but a large new market for all kinds of secular subjects grew up.

Countries|Netherlandish]] provinces that made up the new state had traditionally been less important artistic centres than cities in Flanders in the south. The upheavals and large-scale transfers of population of the war, and the sharp break with the old monarchist and Catholic cultural traditions, meant that Dutch art had to reinvent itself. The painting of religious subjects declined sharply, but a large new market for all kinds of secular subjects grew up.

Although Dutch painting of the Golden Age is included in the general European period of Baroque painting, and often shows many of its characteristics, most lacks the idealization and love of splendour typical of much Baroque work, including that of neighbouring Flanders. Most work, including that for which the period is best known, reflects the traditions of detailed realism inherited from Early Netherlandish painting.

Frans Hals' tronie, with the later title Gypsy Girl. 1628–30. Oil on wood, 58 × 52 cm (23 × 20 in). The tronie includes elements of portraiture, genre painting, and sometimes history painting.
The Blinding of Samson, 1636, which Rembrandt gave to Huyghens

A distinctive feature of the period is the proliferation of distinct genres of paintings,[1] with the majority of artists producing the bulk of their work within one of these. The full development of this specialization is seen from the late 1620s, and the period from then until the French invasion of 1672 is the core of Golden Age painting. Artists would spend most of their careers painting only portraits, genre scenes, landscapes, seascapes and ships, or still lifes, and often a particular sub-type within these categories. Many of these types of subject were new in Western painting, and the way the Dutch painted them in this period was decisive for their future development.

Types of painting[խմբագրել | խմբագրել կոդը]

Paulus Potter, The Bull (1647); 3.4 metres wide. An unusually monumental animal painting that challenges the hierarchy of genres.

A distinctive feature of the period, compared to earlier European painting, was the limited number of religious paintings. Dutch Calvinism forbade religious paintings in churches, and though biblical subjects were acceptable in private homes, relatively few were produced. The other traditional classes of history and portrait painting were present, but the period is more notable for a huge variety of other genres, sub-divided into numerous specialized categories, such as scenes of peasant life, landscapes, townscapes, landscapes with animals, maritime paintings, flower paintings and still lifes of various types. The development of many of these types of painting was decisively influenced by 17th-century Dutch artists.

The widely held theory of the "hierarchy of genres" in painting, whereby some types were regarded as more prestigious than others, led many painters to want to produce history painting. However this was the hardest to sell, as even Rembrandt found. Many were forced to produce portraits or genre scenes, which sold much more easily. In descending order of status, the categories in the hierarchy were:

The Dutch concentrated heavily on the "lower" categories, but by no means rejected the concept of the hierarchy.[3] Most paintings were relatively small – the only common type of really large paintings were group portraits. Painting directly onto walls hardly existed; when a wall-space in a public building needed decorating, fitted framed canvas was normally used. For the extra precision possible on a hard surface, many painters continued to use wooden panels, some time after the rest of Western Europe had abandoned them; some used copper plates, usually recycling plates from printmaking. In turn, the number of surviving Golden Age paintings was reduced by them being overpainted with new works by artists throughout the 18th and 19th century – poor ones were usually cheaper than a new canvas, stretcher and frame.

There was very little Dutch sculpture during the period; it is mostly found in tomb monuments and attached to public buildings, and small sculptures for houses are a noticeable gap, their place taken by silverware and ceramics. Painted delftware tiles were very cheap and common, if rarely of really high quality, but silver, especially in the auricular style, led Europe. With this exception, the best artistic efforts were concentrated on painting and printmaking.

The art world[խմբագրել | խմբագրել կոդը]

Dirck Hals, genre scene of Gentlemen Smoking and Playing Backgammon in an Interior. Note the paintings on the wall of what appears to be a tavern; also here.

Foreigners remarked on the enormous quantities of art produced and the large fairs where many paintings were sold – it has been roughly estimated that over 1.3 million Dutch pictures were painted in the 20 years after 1640 alone.[4] The volume of production meant that prices were fairly low, except for the best known artists; as in most subsequent periods, there was a steep price gradient for more fashionable artists.[5] Those without a strong contemporary reputation, or who had fallen out of fashion, including many now considered among the greatest of the period, such as Vermeer, Frans Hals and Rembrandt in his last years, had considerable problems earning a living, and died poor; many artists had other jobs, or abandoned art entirely.[6] In particular the French invasion of 1672 (the Rampjaar, or "year of disaster"), brought a severe depression to the art market, which never quite returned to earlier heights.[7]

The distribution of pictures was very wide: "yea many tymes, blacksmithes, cobblers etts., will have some picture or other by their Forge and in their stalle. Such is the generall Notion, enclination and delight that these Countrie Native have to Painting" reported an English traveller in 1640.[8] There were for virtually the first time many professional art dealers, several also significant artists, like Vermeer and his father, Jan van Goyen and Willem Kalf. Rembrandt's dealer Hendrick van Uylenburgh and his son Gerrit were among the most important. Landscapes were the easiest uncommissioned works to sell, and their painters were the "common footmen in the Army of Art" according to Samuel van Hoogstraten.[9]

The Haarlem Painter's Guild in 1675, by Jan de Bray, whose self-portrait is the second from the left

The technical quality of Dutch artists was generally high, still mostly following the old medieval system of training by apprenticeship with a master. Typically workshops were smaller than in Flanders or Italy, with only one or two apprentices at a time, the number often being restricted by guild regulations. The turmoil of the early years of the Republic, with displaced artists from the South moving north and the loss of traditional markets in the court and church, led to a resurgence of artists guilds, often still called the Guild of Saint Luke. In many cases these involved the artists extricating themselves from medieval groupings where they shared a guild with several other trades, such as housepainting. Several new guilds were established in the period: Amsterdam in 1579, Haarlem in 1590, and Gouda, Rotterdam, Utrecht and Delft between 1609 and 1611.[10] The Leiden authorities distrusted guilds and did not allow one until 1648.[11]

Later in the century it began to become clear to all involved that the old idea of a guild controlling both training and sales no long worked well, and gradually the guilds were replaced with academies, often only concerned with the training of artists. The Hague, with the court, was an early example, where artists split into two groups in 1656 with the founding of the Confrerie Pictura. With the obvious exception of portraits, many more Dutch paintings were done "speculatively" without a specific commission than was then the case in other countries – one of many ways in which the Dutch art market showed the future.[12]

Aert de Gelder, Self-portrait as Zeuxis (1685)

There were many dynasties of artists, and many married the daughters of their masters or other artists. Many artists came from well-off families, who paid fees for their apprenticeships, and they often married into property. Rembrandt and Jan Steen were both enrolled at the University of Leiden for a while. Several cities had distinct styles and specialities by subject, but Amsterdam was the largest artistic centre, because of its great wealth.[13] Cities such as Haarlem and Utrecht were more important in the first half of the century, with Leiden and other cities emerging after 1648, and above all Amsterdam, which increasingly drew to it artists from the rest of the Netherlands, as well as Flanders and Germany.[14]

Dutch artists were strikingly less concerned about artistic theory than those of many nations, and less given to discussing their art; it appears that there was also much less interest in artistic theory in general intellectual circles and among the wider public than was by then common in Italy.[15] As nearly all commissions and sales were private, and between bourgeois individuals whose accounts have not been preserved, these are also less well documented than elsewhere. But Dutch art was a source of national pride, and the major biographers are crucial sources of information. These are Karel van Mander (Het Schilderboeck, 1604), who essentially covers the previous century, and Arnold Houbraken (De groote schouburgh der Nederlantsche konstschilders en schilderessen – "The Great Theatre of Dutch Painters", 1718–21). Both followed, and indeed exceeded, Vasari in including a great number of short lives of artists – over 500 in Houbraken's case – and both are considered generally accurate on factual matters.

The German artist Joachim von Sandrart (1606–1688) had worked for periods in Holland, and his Deutsche Akademie in the same format covers many Dutch artists he knew. Houbraken's master, and Rembrandt's pupil, was Samuel van Hoogstraten (1627–1678), whose Zichtbare wereld and Inleyding tot de Hooge Schoole der Schilderkonst (1678) contain more critical than biographical information, and are among the most important treatises on painting of the period. Like other Dutch works on the theory of art, they expound many commonplaces of Renaissance theory and do not entirely reflect contemporary Dutch art, still often concentrating on history painting.[16]

History painting[խմբագրել | խմբագրել կոդը]

This category comprises not only paintings that depicted historical events of the past, but also paintings that showed biblical, mythological, literary and allegorical scenes. Recent historical events essentially fell out of the category, and were treated in a realist fashion, as the appropriate combination of portraits with marine, townscape or landscape subjects.[17] Large dramatic historical or Biblical scenes were produced less frequently than in other countries, as there was no local market for church art, and few large aristocratic Baroque houses to fill. More than that, the Protestant population of major cities had been exposed to some remarkably hypocritical uses of Mannerist allegory in unsuccessful Habsburg propaganda during the Dutch Revolt, which had produced a strong reaction towards realism and a distrust of grandiose visual rhetoric.[18] History painting was now a "minority art", although to an extent this was redressed by a relatively keen interest in print versions of history subjects[19]

More than in other types of painting, Dutch history painters continued to be influenced by Italian painting. Prints and copies of Italian masterpieces circulated and suggested certain compositional schemes. The growing Dutch skill in the depiction of light was brought to bear on styles derived from Italy, notably that of Caravaggio. Some Dutch painters also travelled to Italy, though this was less common than with their Flemish contemporaries, as can be seen from the membership of the Bentvueghels club in Rome.[12]

Utrecht Caravaggism: Dirck van Baburen, Christ crowned with thorns, 1623, for a convent in Utrecht, not a market available in most of Holland.

In the early part of the century many Northern Mannerist artists with styles formed in the previous century continued to work, until the 1630s in the cases of Abraham Bloemaert and Joachim Wtewael.[20] Many history paintings were small in scale, with the German painter (based in Rome) Adam Elsheimer as much an influence as Caravaggio (both died in 1610) on Dutch painters like Pieter Lastman, Rembrandt's master, and Jan and Jacob Pynas. Compared to Baroque history painting from other countries, they shared the Dutch emphasis on realism, and narrative directness, and are sometimes known as the "Pre-Rembrandtists", as Rembrandt's early paintings were in this style.[21]

Utrecht Caravaggism describes a group of artists who produced both history painting and generally large genre scenes in an Italian-influenced style, often making heavy use of chiaroscuro. Utrecht, before the revolt the most important city in the new Dutch territory, was an unusual Dutch city, still about 40% Catholic in the mid-century, even more among the elite groups, who included many rural nobility and gentry with town houses there.[22] The leading artists were Hendrick ter Brugghen, Gerard van Honthorst and Dirck van Baburen, and the school was active about 1630, although van Honthorst continued until the 1650s as a successful court painter to the English, Dutch and Danish courts in a more classical style.[23]

Rembrandt began as a history painter before finding financial success as a portraitist, and he never relinquished his ambitions in this area. A great number of his etchings are of narrative religious scenes, and the story of his last history commission, The Conspiracy of Claudius Civilis (1661) illustrates both his commitment to the form and the difficulties he had in finding an audience.[24] Several artists, many his pupils, attempted with some success to continue his very personal style; Govaert Flinck was the most successful. Gerard de Lairesse (1640–1711) was another of these, before falling under heavy influence from French classicism, and becoming its leading Dutch proponent as both artist and theoretician.[25]

Nudity was effectively the preserve of the history painter, although many portraitists dressed up their occasional nudes (nearly always female) with a classical title, as Rembrandt did. For all their uninhibited suggestiveness, genre painters rarely revealed more than a generous cleavage or stretch of thigh, usually when painting prostitutes or "Italian" peasants.

Portraits[խմբագրել | խմբագրել կոդը]

Bartholomeus van der Helst, Sophia Trip (1645), a member of one of the wealthiest families in Holland.[26]

Portrait painting thrived in the Netherlands in the 17th century, as there was a large mercantile class who were far more ready to commission portraits than their equivalents in other countries; a summary of various estimates of total production arrives at between 750,000 and 1,100,000 portraits.[27] Rembrandt enjoyed his greatest period of financial success as a young Amsterdam portraitist, but like other artists, grew rather bored with painting commissioned portraits of burghers: "artists travel along this road without delight", according to van Mander.[28]

While Dutch portrait painting avoids the swagger and excessive rhetoric of the aristocratic Baroque portraiture current in the rest of 17th-century Europe, the sombre clothing of male and in many cases female sitters, and the Calvinist feeling that the inclusion of props, possessions or views of land in the background would show the sin of pride leads to an undeniable sameness in many Dutch portraits, for all their technical quality. Even a standing pose is usually avoided, as a full-length might also show pride. Poses are undemonstrative, especially for women, though children may be allowed more freedom. The classic moment for having a portrait painted was upon marriage, when the new husband and wife more often than not occupied separate frames in a pair of paintings. Rembrandt's later portraits compel by force of characterization, and sometimes a narrative element, but even his early portraits can be dispiriting en masse, as in the roomful of 'starter Rembrandts' donated to the Metropolitan Museum of Art in New York.

Frans Hals, Willem Heythuijsen (1634), 47 × 37 cm (19 × 15 in).
Jan Mijtens, family portrait, 1652, with the boys in "picturesque" dress.

The other great portraitist of the period is Frans Hals, whose famously lively brushwork and ability to show sitters looking relaxed and cheerful adds excitement to even the most unpromising subjects. The extremely "nonchalant pose" of his portrait of Willem Heythuijsen is exceptional: "no other portrait from this period is so informal".[29] The sitter was a wealthy textile merchant who had already commissioned Hals' only individual life-sized full-length portrait ten years before. In this much smaller work for a private chamber he wears riding clothes.[30] Jan de Bray encouraged his sitters to pose costumed as figures from classical history, but many of his works are of his own family. Thomas de Keyser, Bartholomeus van der Helst, Ferdinand Bol and others, including many mentioned below as history or genre painters, did their best to enliven more conventional works. Portraiture, less affected by fashion than other types of painting, remained the safe fallback for Dutch artists.

From what little we know of the studio procedures of artists, it seems that, as elsewhere in Europe, the face was probably drawn and perhaps painted at an initial sitting or two. The typical number of further sittings is unclear - between zero (for a Rembrandt full-length) and 50 appear documented. The clothes were left at the studio and might well be painted by assistants, or a brought-in specialist master, although, or because, they were regarded as a very important part of the painting.[31] Married and never-married women can be distinguished by their dress, highlighting how few single women were painted, except in family groups.[32] As elsewhere, the accuracy of the clothes shown is variable - striped and patterned clothes were worn, but artists rarely show them, understandably avoiding the extra work.[33] Lace and ruff collars were unavoidable, and presented a formidable challenge to painters intent on realism. Rembrandt evolved a more effective way of painting patterned lace, laying in broad white stokes, and then painting lightly in black to show the pattern. Another way of doing this was to paint in white over a black layer, and scratch off the white with the end of the brush to show the pattern.[34]

At the end of the century there was a fashion for showing sitters in a semi-fancy dress, begun in England by van Dyck in the 1630s, known as "picturesque" or "Roman" dress.[35] Aristocratic, and militia, sitters allowed themselves more freedom in bright dress and expansive settings than burghers, and religious affiliations probably affected many depictions. By the end of the century aristocratic, or French, values were spreading among the burghers, and depictions were allowed more freedom and display.

A distinctive type of painting, combining elements of the portrait, history, and genre painting was the tronie. This was usually a half-length of a single figure which concentrated on capturing an unusual mood or expression. The actual identity of the model was not supposed to be important, but they might represent a historical figure and be in exotic or historic costume. Jan Lievens and Rembrandt, many of whose self-portraits are also tronies (especially his etched ones), were among those who developed the genre.

Family portraits tended, as in Flanders, to be set outdoors in gardens, but without an extensive view as later in England, and to be relatively informal in dress and mood. Group portraits, largely a Dutch invention, were popular among the large numbers of civic associations that were a notable part of Dutch life, such as the officers of a city's schutterij or militia guards, boards of trustees and regents of guilds and charitable foundations and the like. Especially in the first half of the century, portraits were very formal and stiff in composition. Groups were often seated around a table, each person looking at the viewer. Much attention was paid to fine details in clothing, and where applicable, to furniture and other signs of a person's position in society. Later in the century groups became livelier and colours brighter. Rembrandt's Syndics of the Drapers' Guild is a subtle treatment of a group round a table.

The Meagre Company, an Amsterdam militia group portrait or schutterstuk by Frans Hals and Pieter Codde (1633-37)
Bartholomeus van der Helst, Banquet of the Amsterdam Civic Guard in Celebration of the Peace of Münster, 1648; 5.47 metres wide

Scientists often posed with instruments and objects of their study around them. Physicians sometimes posed together around a cadaver, a so-called 'Anatomical Lesson', the most famous one being Rembrandt's Anatomy Lesson of Dr. Nicolaes Tulp (1632, Mauritshuis, The Hague). Boards of trustees in their regentenstuk portraits preferred an image of austerity and humility, posing in dark clothing (which by its refinement testified to their prominent standing in society), often seated around a table, with solemn expressions on their faces.

Most militia group portraits were commissioned in Haarlem and Amsterdam, and were much more flamboyant and relaxed or even boisterous than other types of portraits, as well as much larger. Early examples showed them dining, but later groups showed most figures standing for a more dynamic composition. Rembrandt's famous The Militia Company of Captain Frans Banning Cocq better known as the Night Watch (1642), was an ambitious and not entirely successful attempt to show a group in action, setting out for a patrol or parade, also innovative in avoiding the typical very wide format of such works.

The cost of group portraits was usually shared by the subjects, often not equally. The amount paid might determine each person's place in the picture, either head to toe in full regalia in the foreground or face only in the back of the group. Sometimes all group members paid an equal sum, which was likely to lead to quarrels when some members gained a more prominent place in the picture than others. In Amsterdam most of these paintings would ultimately end up in the possession of the city council, and many are now on display in the Amsterdams Historisch Museum; there are no significant examples outside the Netherlands.

Scenes of everyday life[խմբագրել | խմբագրել կոդը]

A typical Jan Steen picture (c. 1663); while the housewife sleeps, the household play.[36]

Genre paintings show scenes that prominently feature figures to whom no specific identity can be attached – they are not portraits or intended as historical figures. Together with landscape painting, the development and enormous popularity of genre painting is the most distinctive feature of Dutch painting in this period, although in this case they were also very popular in Flemish painting. Many are single figures, like the Vermeer's The Milkmaid; others may show large groups at some social occasion, or crowds. There were a large number of sub-types within the genre: single figures, peasant families, tavern scenes, "merry company" parties, women at work about the house, scenes of village or town festivities (though these were still more common in Flemish painting), market scenes, barracks scenes, scenes with horses or farm animals, in snow, by moonlight, and many more. In fact most of these had specific terms in Dutch, but there was no overall Dutch term equivalent to "genre painting" – until the late 18th century the English often called them "drolleries".[37] Some artists worked mostly within one of these sub-types, especially after about 1625.[38] Over the course of the century, genre paintings tended to reduce in size.

Though genre paintings provide many insights into the daily life of 17th-century citizens of all classes, their accuracy cannot always be taken for granted.[39] Many which seemed only to depict everyday scenes actually illustrated Dutch proverbs and sayings or conveyed a moralistic message – the meaning of which may now need to be deciphered by art historians, though some are clear enough. Many artists, and no doubt purchasers, certainly tried to have things both ways, enjoying the depiction of disorderly households or brothel scenes, while providing a moral interpretation – the works of Jan Steen, whose other profession was as an innkeeper, are an example. The balance between these elements is still debated by art historians today.[40]

Gerrit van Honthorst (1625), punning visually on the lute in this brothel scene

The titles given later to paintings often distinguish between "taverns" or "inns" and "brothels", but in practice these were very often the same establishments, as many taverns had rooms above or behind set aside for sexual purposes: "Inn in front; brothel behind" was a Dutch proverb.[41]

The Steen above is very clearly an exemplum, and though each of the individual components of it is realistically depicted, the overall scene is not a plausible depiction of a real moment; typically of genre painting, it is a situation that is depicted, and satirized.[42]

The Renaissance tradition of recondite emblem books had, in the hands of the 17th-century Dutch – almost universally literate in the vernacular, but mostly without education in the classics – turned into the popularist and highly moralistic works of Jacob Cats, Roemer Visscher, and others, often based in popular proverbs. The illustrations to these are often quoted directly in paintings, and since the start of the 20th century art historians have attached proverbs, sayings and mottoes to a great number of genre works. Another popular source of meaning is visual puns using the great number of Dutch slang terms in the sexual area: the vagina could be represented by a lute (luit) or stocking (kous), and sex by a bird (vogelen), among many other options,[43] and purely visual symbols such as shoes, spouts, and jugs and flagons on their side.

Adriaen van Ostade, Peasants in an Interior (1661)

The same painters often painted works in a very different spirit of housewives or other women at rest in the home or at work – they massively outnumber similar treatments of men. In fact working class men going about their jobs are notably absent from Dutch Golden Age art, with landscapes populated by travellers and idlers but rarely tillers of the soil.[44] Despite the Dutch Republic being the most important nation in international trade in Europe, and the abundance of marine paintings, scenes of dock workers and other commercial activities are very rare.[45] This group of subjects was a Dutch invention, reflecting the cultural preoccupations of the age,[46] and was to be adopted by artists from other countries, especially France, in the two centuries following.

The tradition developed from the realism and detailed background activity of Early Netherlandish painting, which Hieronymus Bosch and Pieter Bruegel the Elder were among the first to turn into their principal subjects, also making use of proverbs. The Haarlem painters Willem Pieterszoon Buytewech, Frans Hals and Esaias van de Velde were important painters early in the period. Buytewech painted "merry companies" of finely dressed young people, with moralistic significance lurking in the detail.

Gabriel Metsu, The Hunter's Gift, c. 1660, a study in marital relations, with a visual pun.[47]

Van de Velde was also important as a landscapist, whose scenes included unglamorous figures very different from those in his genre paintings, which were typically set at garden parties in country houses. Hals was principally a portraitist, but also painted genre figures of a portrait size early in his career.[48]

A stay in Haarlem by the Flemish master of peasant tavern scenes Adriaen Brouwer, from 1625 or 1626, gave Adriaen van Ostade his lifelong subject, though he often took a more sentimental approach. Before Brouwer, peasants had normally been depicted outdoors; he usually shows them in a plain and dim interior, though van Ostade's sometimes occupy ostentatiously decrepit farmhouses of enormous size.[49]

Van Ostade was as likely to paint a single figure as a group, as were the Utrecht Caravaggisti in their genre works, and the single figure, or small groups of two or three became increasingly common, especially those including women and children. The most notable woman artist of the period, Judith Leyster (1609–1660), specialized in these, before her husband, Jan Miense Molenaer, prevailed on her to give up painting. The Leiden school of fijnschilder ("fine painters") were renowned for small and highly finished paintings, many of this type. Leading artists included Gerard Dou, Gabriel Metsu, Frans van Mieris the Elder, and later his son Willem van Mieris, Godfried Schalcken, and Adriaen van der Werff.

This later generation, whose work now seems over-refined compared to their predecessors, also painted portraits and histories, and were the most highly regarded and rewarded Dutch painters by the end of the period, whose works were sought after all over Europe.[50] Genre paintings reflected the increasing prosperity of Dutch society, and settings grew steadily more comfortable, opulent and carefully depicted as the century progressed. Artists not part of the Leiden group whose common subjects also were more intimate genre groups included Nicolaes Maes, Gerard ter Borch and Pieter de Hooch, whose interest in light in interior scenes was shared with Jan Vermeer, long a very obscure figure, but now the most highly regarded genre painter of all.

Landscapes and cityscapes[խմբագրել | խմբագրել կոդը]

Esaias van de Velde, Winter Landscape (1623)

Landscape painting was a major genre in the 17th century. Flemish landscapes (particularly from Antwerp) of the 16th century first served as an example. These had been not particularly realistic, having been painted mostly in the studio, partly from imagination, and often still using the semi-aerial view from above typical of earlier Netherlandish landscape painting in the "world landscape" tradition of Joachim Patinir, Herri met de Bles and the early Pieter Bruegel the Elder. A more realistic Dutch landscape style developed, seen from ground level, often based on drawings made outdoors, with lower horizons which made it possible to emphasize the often impressive cloud formations that were (and are) so typical in the climate of the region, and which cast a particular light. Favourite subjects were the dunes along the western sea coast, rivers with their broad adjoining meadows where cattle grazed, often with the silhouette of a city in the distance. Winter landscapes with frozen canals and creeks also abounded. The sea was a favourite topic as well since the Low Countries depended on it for trade, battled with it for new land, and battled on it with competing nations.

Important early figures in the move to realism were Esaias van de Velde (1587–1630) and Hendrick Avercamp (1585–1634), both also mentioned above as genre painters – in Avercamp's case the same paintings deserve mention in each category. From the late 1620s the "tonal phase" of landscape painting started, as artists softened or blurred their outlines, and concentrated on an atmospheric effect, with great prominence given to the sky, and human figures usually either absent or small and distant. Compositions based on a diagonal across the picture space became popular, and water often featured. The leading artists were Jan van Goyen (1596–1656), Salomon van Ruysdael (1602–1670), Pieter de Molyn (1595–1661), and in marine painting Simon de Vlieger (1601–1653), with a host of minor figures – a recent study lists over 75 artists who worked in van Goyen's manner for at least a period, including Cuyp.[54]

Jacob van Ruisdael, The Windmill at Wijk (1670)
Aelbert Cuyp, River landscape with Riders (c. 1655); Cuyp specialized in golden evening light in Dutch settings.

From the 1650s the "classical phase" began, retaining the atmospheric quality, but with more expressive compositions and stronger contrasts of light and colour. Compositions are often anchored by a single "heroic tree", windmill or tower, or ship in marine works.[55] The leading artist was Jacob van Ruisdael (1628–1682), who produced a great quantity and variety of work, using every typical Dutch subject except the Italianate landscape (below); instead he produced "Nordic" landscapes of dark and dramatic mountain pine forests with rushing torrents and waterfalls.[56]

His pupil was Meindert Hobbema (1638–1709), best known for his atypical Avenue at Middelharnis (1689, London), a departure from his usual scenes of watermills and roads through woods. Two other artists with more personal styles, whose best work included larger pictures (up to a metre or more across), were Aelbert Cuyp (1620–1691) and Philips Koninck (1619–1688). Cuyp took golden Italian light and used it in evening scenes with a group of figures in the foreground and behind them a river and wide landscape. Koninck's best works are panoramic views, as from a hill, over wide flat farmlands, with a huge sky.

A different type of landscape, produced throughout the tonal and classical phases, was the romantic Italianate landscape, typically in more mountainous settings than are found in the Netherlands, with golden light, and sometimes picturesque Mediterranean staffage and ruins. Not all the artists who specialized in these had visited Italy. Jan Both (d. 1652), who had been to Rome and worked with Claude Lorrain, was a leading developer of the subgenre, which influenced the work of many painters of landscapes with Dutch settings, such as Aelbert Cuyp. Other artists who consistently worked in the style were Nicolaes Berchem (1620–1683) and Adam Pijnacker. Italianate landscapes were popular as prints, and more paintings by Berchem were reproduced in engravings during the period itself than those of any other artist.[57]

A number of other artists do not fit in any of these groups, above all Rembrandt, whose relatively few painted landscapes show various influences, including some from Hercules Seghers (c. 1589–c. 1638); his very rare large mountain valley landscapes were a very personal development of 16th-century styles.[58] Aert van der Neer (d. 1677) painted very small scenes of rivers at night or under ice and snow.

Landscapes with animals in the foreground were a distinct sub-type, and were painted by Cuyp, Paulus Potter (1625–1654), Albert Jansz. Klomp (1625-1688), Adriaen van de Velde (1636–1672) and Karel Dujardin (1626–1678, farm animals), with Philips Wouwerman painting horses and riders in various settings. The cow was a symbol of prosperity to the Dutch, hitherto overlooked in art, and apart from the horse by far the most commonly shown animal; goats were used to indicate Italy. Potter's The Young Bull is an enormous and famous portrait which Napoleon took to Paris (it later returned) though livestock analysts have noted from the depiction of the various parts of the anatomy that it appears to be a composite of studies of six different animals of widely different ages.

Pieter Jansz Saenredam, Assendelft Church, 1649, with the gravestone of his father in the foreground.

Architecture also fascinated the Dutch, churches in particular. At the start of the period the main tradition was of fanciful palaces and city views of invented Northern Mannerist architecture, which Flemish painting continued to develop, and in Holland was represented by Dirck van Delen. A greater realism began to appear and the exteriors and interiors of actual buildings were reproduced, though not always faithfully. During the century understanding of the proper rendering of perspective grew and were enthusiastically applied. Several artists specialized in church interiors.

Pieter Jansz Saenredam, whose father Jan Saenredam engraved sensuous nude Mannerist goddesses, painted unpeopled views of now whitewashed Gothic city churches. His emphasis on even light and geometry, with little depiction of surface textures, is brought out by comparing his works with those of Emanuel de Witte, who left in the people, uneven floors, contrasts of light and such clutter of church furniture as remained in Calvinist churches, all usually ignored by Saenredam. Gerard Houckgeest, followed by van Witte and Hendrick van Vliet, had supplemented the traditional view along a main axis of the church with diagonal views that added drama and interest.[59]

Gerrit Berckheyde specialized in lightly populated views of main city streets, squares, and major public buildings; Jan van der Heyden preferred more intimate scenes of quieter Amsterdam streets, often with trees and canals. These were real views, but he did not hesitate to adjust them for compositional effect.[60]

Maritime painting[խմբագրել | խմբագրել կոդը]

Salomon van Ruisdael, typical View of Deventer Seen from the North-West (1657); an example of the "tonal phase".

The Dutch Republic relied on trade by sea for its exceptional wealth, had naval wars with Britain and other nations during the period, and was criss-crossed by rivers and canals. It is therefore no surprise that the genre of maritime painting was enormously popular, and taken to new heights in the period by Dutch artists; as with landscapes, the move from the artificial elevated view typical of earlier marine painting was a crucial step.[61] Pictures of sea battles told the stories of a Dutch navy at the peak of its glory, though today it is usually the more tranquil scenes that are highly estimated. Ships are normally at sea, and dock scenes surprisingly absent.[62]

More often than not, even small ships fly the Dutch tricolour, and many vessels can be identified as naval or one of the many other government ships. Many pictures included some land, with a beach or harbour viewpoint, or a view across an estuary. Other artists specialized in river scenes, from the small pictures of Salomon van Ruysdael with little boats and reed-banks to the large Italianate landscapes of Aelbert Cuyp, where the sun is usually setting over a wide river. The genre naturally shares much with landscape painting, and in developing the depiction of the sky the two went together; many landscape artists also painted beach and river scenes. Artists included Jan Porcellis, Simon de Vlieger, Jan van de Cappelle, Hendrick Dubbels and Abraham Storck. Willem van de Velde the Elder and his son are the leading masters of the later decades, tending, as at the beginning of the century, to make the ship the subject, whereas in tonal works of earlier decades the emphasis had been on the sea and the weather. They left for London in 1672, leaving the master of heavy seas, the German-born Ludolf Bakhuizen, as the leading artist.[63]

Still lifes[խմբագրել | խմբագրել կոդը]

Pieter Claesz, Vanitas (1630)

Still lifes were a great opportunity to display skill in painting textures and surfaces in great detail and with realistic light effects. Food of all kinds laid out on a table, silver cutlery, intricate patterns and subtle folds in table cloths and flowers all challenged painters.

Several types of subject were recognised: banketje were "banquet pieces", ontbijtjes simpler "breakfast pieces".[64] Virtually all still lifes had a moralistic message, usually concerning the brevity of life – this is known as the vanitas theme – implicit even in the absence of an obvious symbol like a skull, or less obvious one such as a half-peeled lemon (like life, sweet in appearance but bitter to taste).[65] Flowers wilt and food decays, and silver is of no use to the soul. Nevertheless, the force of this message seems less powerful in the more elaborate pieces of the second half of the century.

Abraham van Beijeren (c. 1660); "ostentatious" still life.

Initially the objects shown were nearly always mundane. However, from the mid-century pronkstillevens ("ostentatious still lifes"), which depicted expensive and exotic objects and had been developed as a subgenre in the 1640s in Antwerp by Flemish artists such as Frans Snyders and Adriaen van Utrecht, became more popular.[66] The early realist, tonal and classical phases of landscape painting had counterparts in still life painting.[67] Willem Claeszoon Heda (1595–c. 1680) and Willem Kalf (1619–1693) led the change to the pronkstilleven, while Pieter Claesz (d. 1660) preferred to paint simpler "ontbijt" ("breakfast pieces"), or explicit vanitas pieces.

In all these painters, colours are often very muted, with browns dominating, especially in the middle of the century. This is less true of the works of Jan Davidsz de Heem (1606–1684), an important figure who spent much of his career based over the border in Antwerp. Here his displays began to sprawl sideways to form wide oblong pictures, unusual in the north, although Heda sometimes painted taller vertical compositions. Still life painters were especially prone to form dynasties, it seems: there were many de Heems and Bosschaerts, Heda's son continued in his father's style, and Claesz was the father of Nicholaes Berchem.

Jacob Gillig, Freshwater Fish (1684)

Flower paintings formed a sub-group with its own specialists, and were occasionally the speciality of the few women artists, such as Maria van Oosterwyck and Rachel Ruysch.[68] The Dutch also led the world in botanical and other scientific drawings, prints and book illustrations. Despite the intense realism of individual flowers, paintings were composed from individual studies or even book illustrations, and blooms from very different seasons were routinely included in the same composition, and the same flowers reappear in different works, just as pieces of tableware do. There was also a fundamental unreality in that bouquets of flowers in vases were not in fact at all common in houses at the time – even the very rich displayed flowers one by one in delftware tulip-holders.[69]

The Dutch tradition was largely begun by Ambrosius Bosschaert (1573–1621), a Flemish-born flower painter who had settled in the north by the beginning of the period, and founded a dynasty. His brother-in-law Balthasar van der Ast (d. 1657) pioneered still lifes of shells, as well as painting flowers. These early works were relatively brightly lit, with the bouquets of flowers arranged in a relatively simple way. From the mid-century arrangements that can fairly be called Baroque, usually against a dark background, became more popular, exemplified by the works of Willem van Aelst (1627–1683). Painters from Leiden, The Hague, and Amsterdam particularly excelled in the genre.

Dead game, and birds painted live but studied from the dead, were another subgenre, as were dead fish, a staple of the Dutch diet – Abraham van Beijeren did many of these.[70] The Dutch were less given to the Flemish style of combining large still life elements with other types of painting – they would have been considered prideful in portraits – and the Flemish habit of specialist painters collaborating on the different elements in the same work. But this sometimes did happen – Philips Wouwerman was occasionally used to add men and horses to turn a landscape into a hunting or skirmish scene, Berchem or Adriaen van de Velde to add people or farm animals.

Foreign lands[խմբագրել | խմբագրել կոդը]

Frans Post, scene in Dutch Brazil; painted in 1662, some years after the colony was lost.

For Dutch artists, Karel van Mander's Schilderboeck was meant not only as a list of biographies, but also a source of advice for young artists. It quickly became a classic standard work for generations of young Dutch and Flemish artists in the 17th century. The book advised artists to travel and see the sights of Florence and Rome, and after 1604 many did so. However, it is noticeable that the most important Dutch artists in all fields, figures such as Rembrandt, Vermeer, Hals, Steen, Jacob van Ruisdael, and others, did not make the voyage.[12]

Many Dutch (and Flemish) painters worked abroad or exported their work; printmaking was also an important export market, by which Rembrandt became known across Europe. The Dutch Gift to Charles II of England was a diplomatic gift which included four contemporary Dutch paintings. English painting was heavily reliant on Dutch painters, with Sir Peter Lely followed by Sir Godfrey Kneller, developing the English portrait style established by the Flemish Anthony van Dyck before the English Civil War. The marine painters van der Velde, father and son, were among several artists who left Holland at the French invasion of 1672, which brought a collapse in the art market. They also moved to London, and the beginnings of English landscape painting were established by several less distinguished Dutch painters, such as Hendrick Danckerts.

The Bamboccianti were a colony of Dutch artists who introduced the genre scene to Italy. Jan Weenix and Melchior d'Hondecoeter specialized in game and birds, dead or alive, and were in demand for country house and shooting-lodge overdoors across Northern Europe.

Although the Dutch control of the northeast sugar-producing region of Dutch Brazil turned out to be brief (1630-54), Governor Johan Maurits van Nassau-Siegen invited Dutch artists to paint scenes which are valuable in showing the seventeenth-century landscape and peoples of the region.[71] The two most well known of these artists were Frans Post, a landscapist, and a still life painter, Albert Eckhout, who produced ethnographic paintings of Brazil's population. These were originally displayed in the Great Hall of the Vrijburg Palace in Recife.[72] There was a market in Amsterdam for such paintings,[73] and Post continued to produce Brazilian scenes for years after his return to the Netherlands. The Dutch East Indies were covered much less well artistically.

Subsequent reputation[խմբագրել | խմբագրել կոդը]

Philips Wouwerman, Travelers Awaiting a Ferry (1649); a landscape with Wouwerman's trademark highlight of a white horse.

The enormous success of 17th-century Dutch painting overpowered the work of subsequent generations, and no Dutch painter of the 18th century—nor, arguably, a 19th-century one before Van Gogh—is well known outside the Netherlands. Already by the end of the period artists were complaining that buyers were more interested in dead than living artists.

If only because of the enormous quantities produced, Dutch Golden Age painting has always formed a significant part of collections of Old Master paintings, itself a term invented in the 18th century to describe Dutch Golden Age artists. Taking only Wouwerman paintings in old royal collections, there are more than 60 in Dresden and over 50 in the Hermitage.[74] But the reputation of the period has shown many changes and shifts of emphasis. One nearly constant factor has been admiration for Rembrandt, especially since the Romantic period. Other artists have shown drastic shifts in critical fortune and market price; at the end of the period some of the active Leiden fijnschilders had enormous reputations, but since the mid-19th century realist works in various genres have been far more appreciated.[75]

Vermeer was rescued from near-total obscurity in the 19th century, by which time several of his works had been re-attributed to others. However the fact that so many of his works were already in major collections, often attributed to other artists, demonstrates that the quality of individual paintings was recognised even if his collective oeuvre was unknown.[76] Other artists have continued to be rescued from the mass of little known painters: the late and very simple still lifes of Adriaen Coorte in the 1950s,[77] and the landscapists Jacobus Mancaden and Frans Post earlier in the century.[78]

Gerard ter Borch, Paternal Admonition, or Brothel Scene (c. 1654; Amsterdam version).

Genre paintings were long popular, but little-regarded. In 1780 Horace Walpole disapproved that they "invite laughter to divert itself with the nastiest indelicacy of boors".[79] Sir Joshua Reynolds, the English leader of 18th-century academic art, made several revealing comments on Dutch art. He was impressed by the quality of Vermeer's Milkmaid (illustrated at the start of this article), and the liveliness of Hals' portraits, regretting he lacked the "patience" to finish them properly, and lamented that Steen had not been born in Italy and formed by the High Renaissance, so that his talent could have been put to better use.[80] By Reynold's time the moralist aspect of genre painting was no longer understood, even in the Netherlands; the famous example is the so-called Paternal Admonition, as it was then known, by Gerard ter Borch. This was praised by Goethe and others for the delicacy of its depiction of a father reprimanding his daughter. In fact to most (but not all) modern scholars it is a proposition scene in a brothel – there are two versions (Berlin & Amsterdam) and it is unclear whether a "tell-tale coin" in the man's hand has been removed or overpainted in either.[81]

In the second half of the 18th century, the down to earth realism of Dutch painting was a "Whig taste" in England, and in France associated with Enlightenment rationalism and aspirations for political reform.[82] In the 19th century, with a near-universal respect for realism, and the final decline of the hierarchy of genres, contemporary painters began to borrow from genre painters both their realism and their use of objects for narrative purposes, and paint similar subjects themselves, with all the genres the Dutch had pioneered appearing on far larger canvases (still lifes excepted).

In landscape painting, the Italianate artists were the most influential and highly regarded in the 18th century, but John Constable was among those Romantics who denounced them for artificiality, preferring the tonal and classical artists.[57] In fact both groups remained influential and popular in the 19th century.

Notes[խմբագրել | խմբագրել կոդը]

  1. Confusingly, one particular genre of painting is called genre painting, the painting of some kind of everyday scenes with unidentified people. But, for example, still-life is also a genre in painting.
  2. Fuchs, 104
  3. Franits, 2-3
  4. Lloyd, 15, citing Jonathan Israel. Perhaps only 1% survive today, and "only about 10% of these were of real quality".
  5. Franits, 2
  6. Jan Steen was an innkeeper, Aelbert Cuyp was one of many whose wealthy wives persuaded them to give up painting, although Karel Dujardin seems to have run away from his to continue his work. Conversely Jan van de Cappelle came from a very wealthy family, and Joachim Wtewael was a self-made flax tycoon. See their biographies in MacLaren. The fish artist Jacob Gillig also worked as a warder in the Utrecht prison, conveniently close to the fish market. Bankrupts included: Rembrandt, Frans Hals, Jan de Bray, and many others.
  7. Franits, 217 and ff. on 1672 and its effects.
  8. Fuchs, 43; Franits, 2 calls this "oft-quoted" remark "undoubtedly exaggerated".
  9. Fuchs, 104
  10. Prak (2008), 151-153, or Prak (2003), 241
  11. Prak (2008), 153
  12. 12,0 12,1 12,2 Fuchs, 43
  13. Franits' book is largely organized by city and by period; Slive by subject categories
  14. Franits throughout, summarized on p. 260
  15. Fuchs, 76
  16. See Slive, 296-7 and elsewhere
  17. Fuchs, 107
  18. Fuchs, 62, R.H. Wilenski, Dutch Painting, "Prologue" pp. 27–43, 1945, Faber, London
  19. Fuchs, 62-3
  20. Slive, 13-14
  21. Fuchs, 62-69
  22. Franits, 65. Catholic 17th-century Dutch artists included Abraham Bloemaert and Gerard van Honthorst from Utrecht, and Jan Steen, Paulus Bor, Jacob van Velsen, plus Vermeer who probably converted at his marriage.[1] Jacob Jordaens was among Flemish Protestant artists.
  23. Slive, 22-4
  24. Fuchs, 69-77
  25. Fuchs, 77-78
  26. Trip family tree. Her grandparents' various portraits by Rembrandt are famous.
  27. Ekkart, 17 n.1 (on p. 228).
  28. Shawe-Taylor, 22-23, 32-33 on portraits, quotation from 33
  29. Ekkart, 118
  30. Ekkart, 130 and 114.
  31. Ekkart (Marike de Winkel essay), 68-69
  32. Ekkart (Marike de Winkel essay), 66-68
  33. Ekkart (Marike de Winkel essay), 73
  34. Ekkart (Marike de Winkel essay), 69-71
  35. Ekkart (Marike de Winkel essay), 72-73
  36. Another version at Apsley House, with a different composition, but using most of the same moralizing objects, is analysed by Franits, 206-9
  37. Fuchs, 42 and Slive, 123
  38. Slive, 123
  39. Franits, 1, mentioning costume in works by the Utrecht Caravagggisti, and architectural settings, as especially prone to abandon accurate depiction.
  40. Franits, 4-6 summarizes the debate, for which Svetlana Alpers' The Art of Describing (1983) is an important work (though see Slive's terse comment on p. 344). See also Franits, 20-21 on paintings being understood differently by contemporary individuals, and his p.24
  41. On Diderot's Art Criticism. Mira Friedman, p. 36 Archived July 21, 2011, at the Wayback Machine.
  42. Fuchs, 39-42, analyses two comparable scenes by Steen and Dou, and p. 46.
  43. Fuchs, pp 54, 44, 45.
  44. Slive, 191
  45. Slive, 1
  46. Explored at length by Schama in his Chapter 6. See also the analysis of The Milkmaid (Vermeer), claimed by different art historians for each tradition.
  47. Franits, 180-182, though he strangely seems to discount the possibility that the couple are married. Married or not, the hunter clearly hopes for a return from his gift of (punning) birds, though the open shoe and gun on the floor, pointing in different directions, suggest he may be disappointed. Metsu used opposed dogs several times, and may have invented the motif, which was copied by Victorian artists. A statue of Cupid presides over the scene.
  48. Franits, 24-27
  49. Franits, 34-43. Presumably these are intended to imply houses abandoned by Catholic gentry who had fled south in the Eighty Years' War. His self-portrait shows him, equally implausibly, working in just such a setting.
  50. Fuchs, 80
  51. Franits, 164-6.
  52. MacLaren, 227
  53. Franits, 152-6. Schama, 455-460 discusses the general preoccupation with maidservants, "the most dangerous women of all" (p. 455). See also Franits, 118-119 and 166 on servants.
  54. Slive, 189 – the study is by H.-U. Beck (1991)
  55. Slive, 190 (quote), 195-202
  56. Derived from works by Allart van Everdingen who, unlike Ruysdael, had visited Norway, in 1644. Slive, 203
  57. 57,0 57,1 Slive, 225
  58. Rembrandt owned seven Seghers; after a recent fire only 11 are now thought to survive – how many of Rembrandt's remain is unclear.
  59. Slive, 268-273
  60. Slive, 273-6
  61. Slive, 213-216
  62. Franits, 1
  63. Slive, 213-224
  64. MacLaren, 79
  65. Slive, 279-281. Fuchs, 109
  66. Pronkstilleven in: Oxford Dictionary of Art Terms
  67. Fuchs, 113-6
  68. and only a few others, see Slive, 128, 320-321 and index, and Schama, 414. The outstanding woman artist of the age was Judith Leyster.
  69. Fuchs, 111-112. Slive, 279-281, also covering unseasonal and recurring blooms.
  70. Slive, 287-291
  71. Rüdger Joppien. "The Dutch Vision of Brazil: Johan Maurits and His Artists," in Johan Maurits van Nassau-Siegen, 1604-1679: A Humanist Prince in Europe and Brazil, ed. Ernst van den Boogaart, et al. 297-376. The Hague: Johan Maurits van Nassau Stichting, 1979.
  72. van Groesen, Amsterdam's Atlantic, pp. 171-72. With the Portuguese replacementr of the Dutch, Maurits gave the Vrijburg Palace paintings to Frederick III of Denmark
  73. Michiel van Groesen, Amsterdam's Atlantic: Print Culture and the Making of Dutch Brazil. Philadelphia: University of Pennsylvania Press 2017, pp. 150-51.
  74. Slive, 212
  75. See Reitlinger, 11-15, 23-4, and passim, and listings for individual artists
  76. See Reitlinger, 483-4, and passim
  77. Slive, 319
  78. Slive, 191-2
  79. "Advertisement" or Preface to Vol. 4 of the 2nd edition of Anecdotes of Painting in England, based on George Vertue's notebooks, page ix, 1782, J. Dodwell, London, google books
  80. Slive, 144 (Vermeer), 41-2 (Hals), 173 (Steen)
  81. Slive, 158-160 (coin quote), and Fuchs, 147-8, who uses the title Brothel Scene. Franits, 146-7, citing Alison Kettering, says there is "deliberate vagueness" as to the subject, and still uses the title Paternal Admonition.
  82. Reitlinger, I, 11-15. Quote p.13

Офорт в XVII веке[խմբագրել | խմբագրել կոդը]

мини|слева|200пкс|Матрица для офорта «Мадонна с младенцем и котом», медь, произведение Рембрандта и отпечаток офорта на бумаге. Музей Виктории и Альберта, Лондон. мини|200пкс|Питер Брейгель старший. Катастрофа алхимика. мини|200пкс|Рембрандт (подражание Сегерсу). Отдых на пути в Египет.

Развитие гравюры XVI века в Нидерландах (Лука Лейденский, Иеронимус Виерикс, Питер Брейгель старший) подготовило расцвет техники голландского офорта в XVII веке. Новичками на этом пути были художники Харлемской гильдии Св. Луки — Эсайас ван де Вельде, Виллем Бейтевег и Геркулес Сегерс (или Герард Сегерс).

Эсайас ван де Вельде основал в офорте тему голландского сельского пейзажа. Наивные виды уступали панорамным изображениям его соотечественников-последователей (Ян ван Акен, Адриан Остаде, Антони Ватерлоо), но были первыми по времени.

Более одарённым был художник Виллем Бейтевег. Значительная художественная одарённость сделала непохожими между собой как его картины и рисунки, так и офорты. Он отличался приверженностью к камерам риторов (тогдашний голландский театр), к преувеличениям и гротеску, дружил с комедиографом Бредеро. Современники прозвали его «Хитроумным Виллемом». В 1621 году вышла в печать его серия офортов с пейзажами. В основном простые мотивы его пейзажей оживляли или редкие персонажи, или порыв ветра, наклоняющего верхушки деревьев. Сюжеты простые, крестьянские — дорога, кусты возле канала, хижины крестьян среди деревьев. Настроение офортов Бейтевега — неторопливое, иногда с оттенком скуки. Однако картины Виллема Бейтевега станут шагом вперёд в сравнении с упрощенными опусами пейзажей на офортах Эайаса ван де Вельде. Виллем Бейтевег умер в возрасте 30 лет, и в дальнейшем голландский офорт развивался без него. О вкладе Бейтевега в голландскую гравюру свидетельствуют интерес к его произведениям Сегерса и Рембрандта. Последний собирал его офорты, а в годы учёбы — копировал их.

Поднять на новую ступень голландский офорт сумел Геркулес Сегерс (1589—1638). Никакого покоя, никакой неторопливости — он умел быть разным и неожиданным. Его панорамные пейзажи зовут в синеву, побуждают к долгому созерцанию, пугают неизвестным будущим, далёким от опасности. Простые мотивы офортов ван де Вельде или Бейтевега только наощупь искали сюжеты и соответствие им технических возможностей самой офортной техники. Образцы офортов Сегерса самостоятельны по сюжету и уже сопоставимы с образцами нидерландской живописи. Они могли быть как точным воспроизведением и конкретного пейзажа («Панорама Амерсфорта»), и условным сочетанием реальных элементов горных долин с хижинами, деревьями и лодками в дальних заливах («Река в горной долине»), так и совершенно фантастическими, тревожными фантасмагориями («Скалистая долина с рекой и дорогой»). Иногда Сегерс чувствовал усталость от тревожных фантасмагорий собственных пейзажей, и тогда возникали офорты-натюрморты («Книги»). Фанатично преданный гравюре, художник был склонен к новациям, к экспериментам, что не всегда приводило к находкам, приятным и приемлемым для современников. Он не пользовался популярностью, а его офорты не хранили. Осталось примерно 50 его графических произведений, а некоторые — вообще в единичных образцах, что указывает и на малые тиражи офортов мастера, и на значительное количество уничтоженных произведений.

мини|200пкс|Рембрант. Автопортрет. Опираясь на каменный парапет, 1639

Если широкая общественность мало ценила находки Сегерса, то художники, наоборот, и воспевали, и развивали дальше, несмотря на гнетущее, драматическое настроение его произведений. Среди ценителей творчества Сегерса был сам Рембрандт. Заинтересованный в повышении своего мастерства, Рембрандт, который не был на стажировке в Италии, приобрёл на аукционе доски-матрицы Геркулеса Сегерса, а матрицу «Побег Св. Семьи в Египет» переделал в собственный офорт. Главный ценитель офортов Сегерса и талантливый пейзажист, Якоб ван Рёйсдал, тоже иногда обращался к технике офорта.

Рембрадту было тридцать, когда умер Геркулес Сегерс. Он уже 10 лет занимался офортом, хотя и не был ни фанатично преданным офортной технике (как Сегерс), ни склонным к значительным экспериментам с самой техникой. Но художник принес в офорт разнообразие и глубину человеческих чувств, отчаянных стремлений, пафос поисков и трагизм судьбы, даже героизм поступков, драму старости и прощание с миром. Рембрандт внёс в офорт, бывший до того лишь одной из множества графических техник 16 века, столько мастерства и психологической глубины, что тот перестал быть техническим курьёзом и забавой чудаков-художников. К тому же Рембрандт занимался офортом практически всю жизнь, оставив около двухсот девяноста образцов. Поэтому его офорты вобрали и его сюжетные ходы, и рост технического мастерства, и художественную раскованность последних драматических лет жизни. По рембрандтовым офортам начали измерять высокую ступень и художественное качество офортов других художников, если те обращались к этой технике.

Голландский офорт после Рембрандта — более разноцветный, широкий по сюжетам и более спокойный. Мастера охотно берутся за топографические карты, портреты, пейзажи разных городов, бытовой жанр. Однако в конце 17 века офорт несколько потерял статус высокого искусства.

Офорт становится вспомогательной техникой в создании иллюстраций к книгам, анатомическим или ботаническим трактатам, в создании титульных страниц (фронтисписов), которыми начинали издание. Интересным с исторической и художественной точек зрения является создание в 1616 году в Лейпциге серии гравюр к печатному изданию книги Густава Селенуса (под этим псевдонимом скрывался герцог Брауншвейг-Вольфенбюттельский Август) «Шахматы, или Королевская игра» художником Якобом ван дер Хейденом. Офорт идёт как в услужение аристократии, так и в практическое приспособление, далёкое от цели возвеличивания человеческого духа, главной цели искусства вообще. Офорт становится бытовым ремеслом в руках второстепенных художников, достойных за небольшую плату использовать какие угодно стилистики (поздний маньеризм, реализм, барокко).

Аристократизация искусства в конце XVII века[խմբագրել | խմբագրել կոդը]

мини|200пкс|Корнелис Трост. Забавы в парке. мини|200пкс|Саймон Питерс Верелст. «Принц Руперт». Элементы аристократизации присутствовали в искусстве Голландии и раньше, но не доминировали. Эти черты присущи и ранним портретам Рембрандта и произведениям менее одарённых художников. Даже Франс Халс изображает обогатившихся предпринимателей и торгашей как аристократов. Особенно заметны тонкие, аристократические черты в портретах местных и иностранных вельмож (и новых богачей, что покупали себе дворянские титулы). Тип парадного, репрезентативного портрета стал складываться ещё в Италии 16 века — портреты римских пап, портреты правителей мелких итальянских княжеств, венецианских аристократов. Особенно заметными были черты аристократизма в искусстве Фландрии (герцогство Брабант), а художники-фламандцы Рубенс и Годфри Неллер, а особенно Антонис ван Дейк способствовали развитию и становлению репрезентативного портрета в Италии и Англии. Великобритания стремительно развивалась и становилась новой супердержавой Западной Европы, вытесняя из сфер влияния Нидерланды, Испанию, Францию. Антонис ван Дейк настолько повлиял на композиции и образный строй репрезентативного портрета, что те стали образцами. Над развитием находок ван Дейка стал работать и ряд голландских художников. Старую и новую аристократию в Голландии тоже обслуживают в основном портретисты, среди которых -

Богачи на портретах конца 17 в. демонстрируют модные платья и шляпы с перьями, ценное оружие, принимают горделивые позы. Голландец Адриан Ханнеман настолько совершенно подражает образам ван Дейка, что его портреты принимают за произведения самого фламандца. Саймон Питерс Верелст пишет немецкого принца Руперта в манере аристократа-интеллектуала французского образца, игнорируя и его жестокость, и воинственность, и безнравственность. Черты аристократизма настолько преобладают в искусстве Голландии на рубеже 17-18 вв., что влияют и на жанровую живопись, которая (как и голландский портрет) теряет демократические черты (Корнелис Трост, «Забавы в парке», «Портрет Иеронима Тоннемана с сыном»).

The word dictator now refers to what was called rather tyrant 3 in antiquity or despot in the Ancien Régime . This meaning, which developed during the French Revolution 4, is mainly used for the contemporary period .

Aristotle , in his typology of regimes, makes tyranny a corrupt form of government by one, the monarchy .

Montesquieu , in his book De l'esprit des lois , proposes a typology based on the governed: despotism is then a government that does not respect the liberties of individuals and whose principle is fear.

The modern dictatorship [ change | change the code ] Definitions [ edit | change the code ] Encyclopædia Universalis : "Dictatorship is an authoritarian political system, established and maintained by violence, exceptional and illegitimate. It arises in very serious social crises, where it serves either to precipitate the evolution underway (revolutionary dictatorships), or to prevent or curb it (conservative dictatorships). This is usually a very personal regime; but the army or the single party can serve as a basis for institutional dictatorships. " Dictionary of Politics (Hatier): "The dictatorship is defined as an arbitrary and coercive regime, incompatible with political freedom, constitutional government and the principle of equality before the law. " Cultural Dictionary (Larousse): A dictatorship is a "political regime in which power is held by a person or a group of people (junta) who exercise it uncontrollably, authoritatively" and a dictator is a "person who , at the head of a state, holds all the powers, exercising them uncontrollably and authoritatively; autocrat " or " under the Roman Republic, extraordinary magistrate appointed in case of serious crisis by the consuls at the request of the senate, and having all the powers in Italy for a maximum of six months " . Criteria contemporary [ change | change the code ]

Beyond their opposing ideologies, Adolf Hitler and Joseph Stalin are two strong symbols of dictatorship and represent the archetype of the charismatic leader of some dictatorial regimes. In the field of politics , we call a "dictatorship" a regime in which a person ( dictator ), or a group of people, who has absolute power, maintains it authoritatively and exercises it arbitrarily.

The absolute character of power is characterized in particular by the absence of separation of powers ( executive , legislative , judicial ). This confusion of powers may be to the benefit of the executive (the most common case) or to the benefit of the legislature ( assembly regime ). It also results from the lack of democratic control and free elections ( political repression of the opponents, the non-respect of the freedom of the press ).

The arbitrary power of power is reflected in the non - respect of the rule of law (violation of the Constitution , establishment of exceptions laws ).

If many dictators come to power following a coup d'état (in Africa and South America in particular) or a civil war ( Francisco Franco ), it happens that a leader comes to power legally before to become a dictator (this was the case of Adolf Hitler or Kim Il-sung ) or to be a one- party regime (this was the case of Lenin and Stalin ).

Dictatorships today [ edit | change the code ]

Nevertheless, today there are still authoritarian or dictatorial regimes, most of them on the African and Asian continents. In Europe, Belarus and Azerbaijan are considered dictatorships. Between Europe and Asia, Turkey is seen as a regime where democracy is deteriorating, at the limit an authoritarian regime.

Dictatorships are most often one-party regimes, sometimes closed to the rest of the world ( North Korea or Burma before 2011 6 ), or more open commercially ( China ).Բոցավառող գոտիկա

The rise of anti-terrorist policies in Western democracies have also revived the day the theory of constitutional dictatorship, initially thought by German lawyers under the Weimar Republic 7

Filmography [ edit | change the code ] The film of Charlie Chaplin , The Great Dictator (1940) mocks this kind of character - especially Hitler ( " Hynkel ") and Mussolini ( "Napoleoni"). The documentary by Barbet Schroeder , General Idi Amin Dada: Self-Portrait (1974), illustrates the megalomania of the Ugandan dictator. The Crocodile , Gérard Oury's unfinished film projectabout dictatorship. The film V for Vendetta (2006), mentions a fictional dictator in the future, bearing the title of "Great Chancellor of England". The film The Last King of Scotland (2006) shows the megalomania of the Ugandan dictator Idi Amin Dada . The film La Vague (2008) shows how easy it is for an authoritarian regime and the cult of the personality to develop. Inspired by the book The Wave (1981) odd Strasser. The film The Dictator (2012) puts a scene in a fictional dictatorship, in which General Admiral Aladeen exercises all powers. The film Le Crocodile du Botswanga (2014) depicts a grotesque dictatorship where the tyrant best knows the names of his domestic political opponents crocodiles eaters than his own children. Related Articles [ edit | change the code ] authoritarianism Military dictatorship | Unique part Totalitarianism Absolute monarchy of divine right Caesarism | Corporatism | Fascism | Stalinism | securitarianism Roman dictator Dictator (modern sense) Dictatorship of the proletariat Separation of powers The prince Democracy Democracy index Notes and references [ edit | change the code ] ↑ (en) " The Treasury of the French Language - Dictatorship " [ archive ] , The Treasury of the French Language (accessed February 9, 2008 ) ↑ Hannah Arendt , The nature of totalitarianism , trans. Michelle-Irene Brudny de Launay, Paris, Payot, 1990 ↑ From the Greek ὁ τύραννος , literally "the one who has usurped power", without the necessary connotation of brutality. Oedipus is thus a "tyrant" ↑ Robert, Historical Dictionary of the French language ↑ (in) " Democracy Index 2016 " [ archiveFebruary 17, 2017] , on Economist Intelligence Unit ,January 21, 2017 ↑ The Burma was a military dictatorship before its reversal between 2010 and 2011. ↑ (en) " Mathieu Carpentier," State of exception and dictatorship ", Traces No. 20 (2011) " [ archive ] On other Wikimedia projects: dictatorship , on the Wiktionary

ряду относящееся, сочинение Овидия, от которого до нас дошёл лишь отрывок в 100 стихов и которое носит в изданиях заглавие «Medicamina faciei». На это сочинение, как на готовое, указывает женщинам Овидий в III книге «Науки любви» (ст. 205), называя его «Medicamina formae» («Средства для красоты») и прибавляя, что оно, хотя и не велико по объёму, но велико по старанию, с каким написано (parvus, sed cura grande, libellus, opus). В дошедшем отрывке рассматриваются средства, относящиеся к уходу за лицом. Вскоре после «Науки любви» Овидий издал «Лекарство от любви» («Remedia amoris») — поэму в одной книге, где он, не отказываясь и на будущее время от своей службы Амуру, хочет облегчить положение тех, кому любовь в тягость и которые желали бы от неё избавиться. В направлении, которого Овидий до сих пор держался, дальше ему идти было некуда, и он стал искать другие сюжеты. Мы видим его вскоре за разработкой мифологических и религиозных преданий, результатом которой были два его капитальных сочинения: «Метаморфозы» и «Фасты».

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Պոետ Զոռնետի սոնետը հռչակում է. «Ով չի գնում ռիսկի, Նա չի խմում վիսկի»:(Ես իմ կողմից կավելացնեի. «Տո, ի՛նչ վիսկի. գինի էլ չի խմունմ իսկի»): Մեկ այլ սոնետ եզրրահանգում է. «Жизнь без секса, Как гарнир без бифштекса».

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Ո՝վ է էդ փթթուն մռութդ ուտում Գիշերվա մթում... Ավա՜ղ, մի դդում... Եվ ո՝վ է մաժում ազդրերդ շարմաղ, նռներդ շարմաղ... Ավա՜ղ, մի ախմախ...

Հրաշքների երկրում՝ Հրեշավոր գներ... Է՛ս հրաշքն են երկնում Ծաղրածուները մեր...

Որձ հայացքներ էր մագնիսում իր տռուզ տուտուզի վրա...

Հանուն իրենց որովայնի ու ո.ի՝ Եզ ու խոզեր տիրացել էին աթոռի, Էշեր, որոնք հա՛մ հոռի էին, հա՛մ ո.ի, Պառլամենտը վերածել էին ախոռի՝ Հանուն իրենց որովայն ու ո.ի...

Գորշգույն վարտիքին՝ կարմիր կարկատան - Այդ՝ շուրթերն են քո. Ծաղրածու բախտի նկարած կատակ՝ Զըռ կարմիր ներկով...

Մասնագետը թարս խիարի՝ Հայաշխարն էր տալիս վարի. Լավ է՝ կոտրեց ոտքը չարի Քաջ Նիկոլը տղավարի՛...

Քոչո ռոբերթը Ընկել է բերդը. Իսկ ե՝րբ է գալու սերժոյի հերթը...


Ահա և Սերժոն թախտաբիթի.

Նա մեզ բոլորիս խայթի պիտի,

Ռսի տանձիկի առաջ կզի...

Գողականների հետ պպզի,

Ու կոկաինը քաշի քիթը...

Արտահերթ ցրի մեր ժպիտը,

Մե՜ծ ղումար խաղա , հա՜ տերը տա,

Միլիարդ գաղանա, ասի՝ Գտա՜...


Գոհարափշուրներ Կամ Սար Ցոլազենի ,,Նոր խաղեր, նոր տաղեր,, անտիպ ժողովածուից

       ԲՐԵԺՆև և ԸՆԿ.

Ոռի պետության ՈՌը Գերագույն

Տեռում էր, ճառում էն վերնահարկում.

Ըմբոշխնում էին տեռոցը նրա,

Թքում էին թաքուն, աշկարա՝ հարգում:

    Հատված ,,ԿԼԱՍԻԿ,, պոեմից, որն արտացոլում է պարոն դը Գոյի վսեմաշուք ուղերձը պարոն դը Մորուին

...Էդ քո կլասիկ հետույքը շոյեմ,

Վրան գրեմ մի կլասիկ պոեմ,

Կլասիկ ձևով լուծեմ հարցերդ,

Կլաս դարձնեմ փնթի գործերդ,

Աստղեր շրջեմ քո կլաս հետևով

Միայն, մի՛միայն կլասիկ ձևով...

     . . .

...Նա ուներ այնքա՛ն արտահայտիչ ո.,

Որ կուզենայիր շոյել նորից նոր...


Նազենին պորտից ցած մազերին

Ժամ առաջ քսում է վազելին.

Որ հանկարծ չտան կայծ, չընկնեն ցած

Փողահոտ, թեկուզ գ7, բոսի մոտ վազելիս...


Մեյդանում՝ ծով-ծով ծակեր քացախած՛

Տենչում են հաստ-հաստ տանձեր կատաղած...


,,Մարդիկ կան, որոնց հետ ծանոթ լինելն անգամ անպատվություն է,,:

            Վիլյամ Շեքսպիր,  ,,Համլետ,,


Սա գողանում է իր հարազատից,

Գողոնն անվանում... Աստծո պարգև,

Երկա՜ր ճառում է իր սուրբ հավատից,

Հետն էլ պահանջում, որ իրեն հարգե՛ն...

Չէ՛, հարգելն ի՝նչ է... Հարգելը քի՜չ է,

Պաշտե՛ն, պարզապես սրբի տեղ պաշտե՛ն...

...Չգիտեմ՝ սրան ի՛նչ կանվանեք դուք,

Ես անվանում եմ գյոթուշ, թուրքից թո՛ւրք...


Քո գլխին եկած աղետի՛ց անգամ,

Խելք ունե՝ս՝ դասեր քաղիր, բարեկա՛մ:


Хочу любиться я с тобой,

Ну, разве это большой грех?

Ведь я еще так молодой,

К тому же много ел орех...

И у тебя такой прпрех -

Прямо-таки передовой...

........ Գերեզմանից դուրս է թռել՝ Սեր է որոնում, Որ իր սառած ոսկորները Շիկացնի հրում: Կիրք է ուզում, որ ողջ կյանքում Հեչ չի զգացել, Երազել է միայն թաքուն, Անցել-գնացել...