Michael Bockemühl Knihy

Jak by slepý spatřil svět, kdyby se mu zrak znenadání vrátil: tak lze popsat účinek Turnerových obrazů na pozorovatele. John Ruskin, neústupný obhájce díla Williama Turnera (1775-1851) v 19. století, mluvil o "nevinnosti oka", které vnímá barvy a tvary ve světě předtím, než rozpozná jejich významy. Avšak aby Turner takový styl vytvořil, musel nejprve překonat dědictví pozdně rokokových akademických technik. Byl romantikem a realistou zároveň - a přesto ani jedno z toho. Jeho krajiny, v nichž daleko předběhl svou dobu, jsou pokládány za první posly impresionismu, ale vykazují také rysy, které ovlivnily expresionismus, a mnohé z jeho pozdních kompozic jsou skrz naskrz surrealistické. Tato kniha poskytuje zázemí nutné k tomu, aby se Turnerovy obrazy otevřely oku. Ukazuje, že Turner nejen ilustroval přírodu, ale že jeho malby oslovují přímo lidské oko - stejně jako sama příroda, pomocí světla a barvy.

Tajemství odhalené formy Rembrandtův malířský rukopis prošel za čtyřicet čtyři léta tvůrčího období mimořádně dalekosáhlými proměnami. Z téměř neohrabaných či divokých začátků vyrostl bohatý rejstřík nesrovnatelné malířské virtuozity.

Rembrandtův malířský rukopis prošel za čtyřicet čtyři léta tvůrčího období mimořádně dalekosáhlými proměnami. Z téměř neohrabaných či divokých začátků vyrostl bohatý rejstřík nesrovnatelné malířské virtuozity.

William Turner (1775-1851) was simultaneously a romantic and a realist--and yet he transcended both styles. This book opens up Turner's paintings, demonstrating that he was not simply illustrating nature, but that his pictures speak directly to the eye as nature does itself.

The mystery of the revealed A mirror of the artistic and intellectual developments of the 17th century Rembrandt Harmensz van Rijn (1606–1669) was one of the most complex and multi–faceted artists of the 17th century. From his initial period in Leiden to his early and late phases in Amsterdam, the stages of Rembrandt’s career mirror the artistic and intellectual developments of the century. After breaking off his studies in Leiden, the young Rembrandt trained as a painter for two years and eventually established his own painting workshop. Characteristic of the Leiden period are his biblical histories, such as The Raising of Lazarus , but the roots of Rembrandt’s portraiture, nourished by his intensive studies of physiognomy, also are to be found in these same years. Later, in Amsterdam, the perfection of Rembrandt’s likenesses initially won him the favor of numerous patrons—but the artist soon surpassed their expectations. Transcending traditional modes of presentation, Rembrandt composed his portraits in the same manner in which he had earlier constructed his scenes. The results are visible, for example, in the famous group portrait The Anatomy Lesson of Dr. Nicolaes Tulp from 1632. In the last phase of Rembrandt’s work—when, plagued by financial problems, he had withdrawn into seclusion—it is no longer possible to distinguish between event paintings and portraits. About the Each book in TASCHEN’s Basic Art series

William Turner (1775-1851) was simultaneously a romantic and a realist--and yet he transcended both styles. This book opens up Turner's paintings, demonstrating that he was not simply illustrating nature, but that his pictures speak directly to the eye as nature does itself.

In the work of Joseph Mallord William Turner (1775-1851) lies an impact akin to a sudden acquisition of sight. His landscapes and seascapes scorch the eye with such ravishing light and color, with such elemental force, it is as if the sun itself were gleaming out of the frame. Appropriately known as “the painter of light”, Turner worked in print, watercolor, and oils to transform landscape from serene contemplative scenes to pictures pulsating with life. He anchored his work to the River Thames and to the sea, but in the historical context of the Industrial Revolution, also integrated boats, trains, and other markers of human activity, so as to juxtapose the thrust of civilisation against the forces of nature. This book covers Turner's illustrious, wide- ranging repertoire to introduce an artist who combined a traditional genre with a radical modernism.

As a blind person would see the world if the gift of sight suddenly returned - so might one describe the effect of Turner's paintings on the observer. John Ruskin, the uncompromising nineteenth century defender of the painting of William Turner (1775-1851) spoke of the 'innocence of the eye', which perceives the colors and forms of the world before it recognizes their significance. But in order to develop such a style, Turner first had to overcome the entire legacy of late rococo academic teachings. He was simultaneously a romantic and a realist - and yet he was neither. His landscapes, far in advance of their time, have been called forerunners of Impressionism, but they also posses traits that influenced Expressionism, and many of his late compositions are thoroughly surrealistic. Contents Observation -a method of approach Early days -expertise becomes evident Completed structure becomes open form The artist´s world: Mental conception and pictorial realization The open picture and its manifestation The "open secret" of colour J. M. W. Turner 1775-1851: Chronology Notes