
Åñëè ñïðîñèòü ëþáèòåëåé æèâîïèñè, êîãî èç èñïàíñêèõ äåâî÷åê îíè ïîìíÿò ëó÷øå âñåãî, îòâåò áóäåò åäèíîäóøíûì: èíôàíòó Ìàðãàðèòó.  ýòîì ïîäëóííîì ìèðå îíà ïðîæèëà âñåãî 22 ãîäà, îñòàâèâ êðàéíå ìàëî ñâèäåòåëüñòâ î ñâîåé æèçíè, è åñëè áû íå ïîðòðåòû Âåëàñêåñà, îáåññìåðòèâøèå îáðàç ìàëåíüêîé õðóïêîé äåâî÷êè, çàïåðòîé â óäóøëèâîì ìàäðèäñêîì Àëüêàñàðå, áîþñü, îíà çàòåðÿëàñü áû â âåðåíèöå èíôàíò-ýðöãåðöîãèíü ñòàâøèõ æåðòâàìè äèíàñòè÷åñêèõ áðàêîâ Ãàáñáóðãîâ.

Äèåãî Âåëàñêåñ
Ïîðòðåò èíôàíòû Ìàðãàðèòû (äåòàëü)
1653. 128õ100
Õóäîæåñòâåííî-èñòîðè÷åñêèé ìóçåé, Âåíà

Îíà ðîäèëàñü â 1651 ãîäó ïî÷òè ñëó÷àéíî, â ðåçóëüòàòå ñîâåðøåííî íåâîîáðàçèìîãî ðîäñòâåííîãî ñîþçà. Ÿ îòåö Ôèëèïï IV óæå èìåë îò ïåðâîãî áðàêà äâîèõ âûæèâøèõ çàêîííûõ äåòåé (íå ñ÷èòàÿ âåñüìà çíà÷èòåëüíîãî êîëè÷åñòâà âíåáðà÷íûõ), êîãäà â åãî æèçíåííûå ïëàíû âìåøàëàñü ñóäüáà.

Äèåãî Ðîäðèãåñ äå Ñèëüâà è Âåëàñêåñ
Ïîðòðåò èíôàíòû Ìàðãàðèòû â ãîëóáîì ïëàòüå (äåòàëü)
1659. 127õ107
Õóäîæåñòâåííî-èñòîðè÷åñêèé ìóçåé, Âåíà


Äèåãî Âåëàñêåñ
Êîðîëü Èñïàíèè Ôèëèïï IV (äåòàëü)
1632. 128õ86
Õóäîæåñòâåííî-èñòîðè÷åñêèé ìóçåé, Âåíà

Ìàðãàðèòà áûëà ñòàðøèì ðåáåíêîì îò âòîðîãî áðàêà êîðîëÿ Èñïàíèè ñ ýðöãåðöîãèíåé Ìàðèàííîé. Âòîðàÿ æåíèòüáà Ôèëèïïà íå âõîäèëà â åãî æèçíåííûå ïëàíû è áûëà îáóñëîâëåíà ñìåðòüþ åãî åäèíñòâåííîãî íà òîò ìîìåíò ñûíà è íàñëåäíèêà ïðèíöà Áàëüòàçàðà Êàðëîñà, ñûíà åãî ëþáèìîé æåíû Èçàáåëëû äå Áóðáîí.

Äèåãî Âåëàñêåñ (1599–1660)
Èíôàíò Áàëüòàñàð Êàðëîñ íà îõîòå (äåòàëü)
1635-36, 191x103
Ïðàäî, Ìàäðèä
«Ìåíè́íû» (èñï. Las Meninas — «ôðåéëèíû»), èëè «Ñåìüÿ Ôèëèïïà IV» — êàðòèíà Äèåãî Âåëàñêåñà, íàïèñàííàÿ â 1656 ãîäó. Îäíà èç ñàìûõ çíàìåíèòûõ êàðòèí â ìèðå, íûíå õðàíÿùàÿñÿ â ìóçåå Ïðàäî. Ýòî êàðòèíà-èëëþçèÿ, êàðòèíà-çåðêàëî, êàðòèíà-àâòîáèîãðàôèÿ.

Äèåãî Âåëàñêåñ (1599–1660)
Ìåíèíû
*Las Meninas, or The Family of Felipe IV*
1656, 318 ñì x 276 ñì, õîëñò
Ìóçåé Ïðàäî

 ìóçåå Ïðàäî «Ìåíèíû» íàìåðåííî ðàçìåùàþòñÿ î÷åíü íèçêî – òàê, ÷òîáû çðèòåëü îêàçàëñÿ ïðàêòè÷åñêè íà îäíîì óðîâíå ñ ïåðñîíàæàìè êàðòèíû.
«Êîãäà âû ñòîèòå ïåðåä íåé, - äåëèòñÿ âïå÷àòëåíèåì èñòîðèê èñêóññòâà Ïàîëà Âîëêîâà, - ó âàñ âîçíèêàåò ïîëíàÿ èëëþçèÿ, ÷òî âû â ìàñòåðñêîé, êîòîðàÿ èçîáðàæåíà íà ýòîé êàðòèíå. ß íèêîãäà â æèçíè íå èñïûòûâàëà òàêîãî ñòðàííîãî, äàæå æóòêîâàòîãî – äî õîëîäà â ñïèíå – îùóùåíèÿ, ÷òî âû íàõîäèòåñü âíóòðè êàðòèíû; ÷òî âû ïåðåñåêëè òàèíñòâåííóþ ãðàíèöó âðåìåíè è ïîãðóçèëèñü â ýòîò ìèð, ñ êîòîðûì âû ñåé÷àñ îáúåäèíåíû. Âû ñòîèòå ìåæäó ìàëåíüêîé äåâî÷êîé, èíôàíòîé Ìàðãàðèòîé, ôðåéëèíàìè, êîòîðûå ïðèâåëè å¸ â ìàñòåðñêóþ õóäîæíèêà, è òåì, êòî ñòîèò çà âàøåé ñïèíîé».

Äèåãî Âåëàñêåñ (1599–1660)
Ôèëèïï IV Èñïàíñêèé â êîðè÷íåâîì ñ ñåðåáðîì
1631-32
Íàöèîíàëüíàÿ ãàëåðåÿ, Ëîíäîí

Ïîëîòíî èçîáðàæàåò ñöåíó íàïèñàíèÿ Âåëàñêåñîì ñîâìåñòíîãî ïîðòðåòà èñïàíñêîãî êîðîëÿ Ôèëèïïà IV ñ åãî ñóïðóãîé è ïëåìÿííèöåé Ìàðèàííîé Àâñòðèéñêîé â ïðèñóòñòâèè èõ äî÷åðè èíôàíòû Ìàðãàðèòû Òåðåçû ñî ñâèòîé.

Äèåãî Âåëàñêåñ (1599–1660)
Ìàðèàííà Àâñòðèéñêàÿ, êîðîëåâà Èñïàíèè
1652, 234,2x132
Ïðàäî, Ìàäðèä
Äèåãî äå Âåëàñêåñ – çíàìåíèòûé èñïàíñêèé æèâîïèñåö ýïîõè áàðîêêî, ïðèäâîðíûé õóäîæíèê è äèïëîìàò. Îí ïðîæèë íàñûùåííóþ è ïëîäîòâîðíóþ æèçíü, ó÷àñòâîâàë âî ìíîãèõ èñòîðè÷åñêèõ ñîáûòèÿõ ñâîåãî âðåìåíè è îáùàëñÿ ñî ìíîãèìè ãîñóäàðñòâåííûìè äåÿòåëÿìè.
Äèåãî Ðîäðèãåñ äå Ñèëüâà è Âåëàñêåñ
Èíôàíòà Ìàðèÿ Òåðåçà Àâñòðèéñêàÿ
1650, 71õ60
Ëóâð, Ïàðèæ


Follower of Diego Rodriguez de Silva y Velásquez
PORTRAIT OF A MILITARY OFFICER, BUST LENGTH
oil on canvas
59 by 48.5 cm.

Åãî ðàáîòû ïîëó÷èëè ïðèçíàíèå åù¸ ïðè æèçíè õóäîæíèêà è âñåãäà áûëè ãîðäîñòüþ èñïàíñêîãî èñêóññòâà. Ìèðîâóþ èçâåñòíîñòü îíè ïîëó÷èëè âî âðåìåíà ôðàíöóçñêîãî èìïðåññèîíèçìà – êîíåö XIX – íà÷àëî XX âåêîâ. Ýäóàðä Ìàíå íàçûâàë Âåëàñêåñà âåëè÷àéøèì èç êîãäà-ëèáî æèâøèõ õóäîæíèêîâ, à Ñàëüâàäîð Äàëè è Ïàáëî Ïèêàññî ñîçäàâàëè ñâîè èíòåðïðåòàöèè åãî çíàìåíèòûõ ïîëîòåí.

Follower of Diego Rodríguez de Silva y Velázquez
PORTRAIT OF MARIANA OF AUSTRIA (1635-1696), HEAD AND SHOULDERS
oil on canvas 68 by 57 cm.
Äèåãî Ðîäðèãåñ äå Ñèëüâà è Âåëàñêåñ ðîäèëñÿ â Ñåâèëüå (Àíäàëóñèÿ), â ñåìüå ìåñòíîé óðîæåíêè Æåðîíèìû Âåëàñêåñ è íàñëåäíèêà ïîðòóãàëüñêèõ îáåäíåâøèõ äâîðÿí (ïî äðóãîé âåðñèè – êðåù¸íûõ åâðååâ) – Õóàíà äå Ñèëüâà. Î äàòå ðîæäåíèÿ õóäîæíèêà ìîæíî ñóäèòü ëèøü ïî çàïèñè â öåðêîâíîé êíèãå î åãî êðåùåíèè, äàòèðîâàííîé 6 èþíÿ 1599 ãîäà.

Äèåãî Ðîäðèãåñ äå Ñèëüâà è Âåëàñêåñ
Ïîðòðåò èíôàíòû Ìàðèè Òåðåçû
1652-53. 127õ99
Õóäîæåñòâåííî-èñòîðè÷åñêèé ìóçåé, Âåíà
(Kunsthistorisches Museum, Wien).

Äèåãî Âåëàñêåñ (1599–1660)
Êîðîëü Èñïàíèè Ôèëèïï IV
1625-28. 209x121
Õóäîæåñòâåííûé ìóçåé Äæîíà è Ìåéáë Ðèíãëèíã, Ñàðàñîòà
(John and Mable Ringling Museum of Art, Sarasota).


Äèåãî Âåëàñêåñ
Ïîðòðåò êîðîëåâû Èçàáåëëû Áóðáîíñêîé
1632, 207×109 ñì
×àñòíàÿ êîëëåêöèÿ, Íüþ-Éîðê

1664 Caesar van Everdingen
Portrait of a two-year-old boy with an apple and a finch
(Cannon Hall, South Yorkshire)


Follower of Raphael (Urbino 1483-Rome 1520)
Portrait of a Man
c. 1506-13
Oil on poplar | 42.8 x 41.9 cm
© Royal Collection


Lucas Cranach the Elder (1472-1553) and workshop
Portrait of a Lady and her Son
c.1510-40
Oil on panel | 53.0 x 38.4
Balthasar van der Ast
MIDDELBURG 1593/94 - 1657 DELFT
STILL LIFE OF FLOWERS IN A GLASS BEAKER ON A STONE LEDGE, TOGETHER WITH INSECTS AND A LIZARD
1622.
oil on copper 37.4 x 26 cm.


Áàëòàçàð âàí äåð Àñò
Áóêåò öâåòîâ â êèòàéñêîé âàçå â íèøå
1640-å , 63×48 ñì
×àñòíàÿ êîëëåêöèÿ


Balthasar van der Ast
Stilleven met bloemen
between circa 1625 and circa 1630
Medium oil on panel
Rijksmuseum


Áàëòàçàð âàí äåð Àñò
Áëþäî ñ ôðóêòàìè è ðàêîâèíû íà ñòîëå
1620, 46×64.5 ñì

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Áàëòàçàð âàí äåð Àñò
Áëþäî ñ ôðóêòàìè è ðàêîâèíû íà ñòîëå (Äåòàëü)
1620, 46×64.5 ñì

Balthasar van der Ast
MIDDELBURG 1593/94 - 1657 DELFT

Balthasar van der Ast
MIDDELBURG 1593/94 - 1657 DELFT

Áàëüòàçàð âàí äåð Àñò (íèäåðë. Balthasar van der Ast; îê. 1593, Ìèääåëáóðã — 1657, Äåëôò) — íèäåðëàíäñêèé õóäîæíèê è ðèñîâàëüùèê.
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Áàëòàçàð âàí äåð Àñò
Êîðçèíà ñ öâåòàìè è êðàñíàÿ ñìîðîäèíà
1622, 17.8×23.5 ñì
Íàöèîíàëüíàÿ ãàëåðåÿ èñêóññòâà, Âàøèíãòîí

Balthasar van der Ast (1593/94-1657)
Still Life with Fruit

Balthasar van der Ast
MIDDELBURG 1593/94 - 1657 DELFT
A STILL LIFE WITH APRICOTS, CHERRIES, A WILD STRAWBERRY, RED CURRANTS, SHELLS AND INSECTS
oil on panel 19 by 33.7 cm.

Ðîäèëñÿ â Ìèääåëáóðãå, â ñåìüå òîðãîâöà øåðñòüþ. Åãî ðîæäåíèå íå áûëî çàôèêñèðîâàíî, íî ñïóñòÿ ãîäà, â èþíå 1618 ãîäà, èñê áðàòà ßêîáà ïîêàçàë, ÷òî Áàëüòàçàðó â òî âðåìÿ áûëî 25 ëåò, çàïèñàâ äàòó ðîæäåíèÿ â 1593 èëè 1594 ãîäó. Ïîñëå ñìåðòè îòöà â 1609 ãîäó Áàëüòàçàð ïåðååõàë ê ñâîåé ñòàðøåé ñåñòðå Ìàðèè, êîòîðàÿ áûëà çàìóæåì çà Àìáðîçèóñîì Áîñõàðòîì Ñòàðøèì.

AST, Balthasar van der
Still-Life of Flowers, Shells, and Insects
c. 1635
Oil on panel, 24 x 35 cm
Private collection

Francisco Gutiérrez
ACTIVE IN MADRID, SECOND HALF OF THE 17TH CENTURY
EXTRAVAGANT ARCHITECTURAL CAPRICCIO WITH A STATE BARGE ON A CANAL AND PHARAOH'S DAUGHTER FINDING MOSES
1693
oil on canvas 168 by 216 cm.


Francisco Gutiérrez
ACTIVE IN MADRID, SECOND HALF OF THE 17TH CENTURY
EXTRAVAGANT ARCHITECTURAL CAPRICCIO WITH A STATE BARGE ON A CANAL AND PHARAOH'S DAUGHTER FINDING MOSES (DETAIL)
1693
oil on canvas 168 by 216 cm.


Francisco Gutiérrez
ACTIVE IN MADRID, SECOND HALF OF THE 17TH CENTURY
EXTRAVAGANT ARCHITECTURAL CAPRICCIO WITH A STATE BARGE ON A CANAL AND PHARAOH'S DAUGHTER FINDING MOSES (DETAIL)
1693
oil on canvas 168 by 216 cm.
Ïîëîòíî ïðîäàíî íà àóêöèîíå Sotheby's London,
â ôåâðàëå 2018 çà 350,000 USD
FROM THE COLLECTION OF J.E. SAFRA
Ñåðèÿ ñîîáùåíèé "Àðõèòåêòóðíûé, êëàññè÷åñêèé ïåéçàæ \5\":
×àñòü 1 - Ôëàìàíäñêèé æèâîïèñåö-ïåéçàæèñò Òåîáàëüä Ìèøî (Theobald Michau (Micho), 1676-1765, Flanders) \1\
×àñòü 2 - Ôëàìàíäñêèé æèâîïèñåö-ïåéçàæèñò Òåîáàëüä Ìèøî (Theobald Michau (Micho), 1676-1765, Flanders) \2\
...
×àñòü 36 - Âäîõíîâëåííûé Âåíåöèåé... Ôðàíöóçñêèé õóäîæíèê Ôåëèêñ Çèì (Felix Ziem, 1821–1911, French)
×àñòü 37 - Àíòîí Ìèðî (Anton Mirou, 1578-1627, Flanders) - ôëàìàíäñêèé õóäîæíèê-ïåéçàæèñò.
×àñòü 38 - Francisco Gutierrez (active in Madrid, 17th century) - Àðõèòåêòóðíîå êàïðè÷÷èî ñ ãîñóäàðñòâåííîé áàðæåé íà êàíàëå è äî÷åðüþ ôàðàîíà, íàõîäÿùåé Ìîèñåÿ
Äîêóìåíòàëüíûé ôèëüì î Ìèíñêå 1954 ã.
ðåæèññåð Èîñèô Øóëüìàí (1912−1990),
ñöåíàðèé Íèêîëàé Ñàäêîâè÷
äèðåêòîð ôèëüìà Àêèì Æóê
îïåðàòîðû: Âëàäèìèð Îêóëè÷, Âëàäèìèð Öèòðîí
êîìïîçèòîð Äìèòðèé Ëóêàñ
ìîíòàæ: Ì. Áîäðåííèêîâ.
Âèäåî ïðîäîëæèòåëüíîñòüþ ïîë÷àñà ïîçâîëèò âàì óâèäåòü àýðîïîðò «Ìèíñê-1», ñòàðûé æåëåçíîäîðîæíûé âîêçàë, Ïðèâîêçàëüíóþ ïëîùàäü, ãäå ïîñòðîåíà òîëüêî îäíà èç áàøåí, à òàêæå äðóãèå äîñòîïðèìå÷àòåëüíîñòè ãîðîäà.
À åùå ïóñòûå óëèöû, ìíîãî çåëåíè è äàæå ïàëüìû, êîòîðûå âûñàæèâàëèñü íà ëåòíèå ìåñÿöû ó Äîìà ïðàâèòåëüñòâà (íà îòìåòêå 14.28).
Íàöèîíàëüíàÿ êèíîñòóäèÿ "Áåëàðóñüôèëüì" ©1954
Àíòóàí, èëè Àíòîí Ìèðî (Antoine, or Anton Mirou; 1578, Àíòâåðïåí – 1621/1627, Ôðàíêåíòàëü) – ôëàìàíäñêèé ïåéçàæèñò Çîëîòîãî âåêà øêîëû Ôðàíêåíòàëÿ.
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Anton Mirou (1578–1621/1627)
Extensive Landscape with the Rest on The Flight into Egypt
first half of 17th century
oil on copper 21 cm õ 30 cm
Private collection
Ïåéçàæ ñ îõîòíèêàìè
(Landscape with hunting party)
47 õ 63_ìåäü, ìàñëî
×àñòíîå ñîáðàíèå
Ñûí àïòåêàðÿ-êàëüâèíèñòà Àíòîí Ìèðî â ñîîòâåòñòâèè ñ ÐÊÄ ïåðååõàë ñî ñâîåé ñåìüåé â Ôðàíêåíòàëü â 1586 ãîäó. Â 1602 ãîäó æåíèëñÿ íà Ñþçàííå. Ïîñëåäíèé ðàç óïîìèíàåòñÿ â 1627 ãîäó.
"ß äàë øåñòü ëóèäîðîâ îäíîìó íåìåöêîìó õóäîæíèêó, ÷òîáû îí íàïèñàë å¸ ñ íàòóðû îáíàæåííîé, è îíà âûøëà êàê æèâàÿ. Îí èçîáðàçèë å¸ ëåæàùåé íà æèâîòå, îïèðàÿñü ðóêàìè è ãðóäüþ íà ïîäóøêó è äåðæà ãîëîâó òàê, ñëîâíî ëåæàëà íà ñïèíå. Èñêóñíûé õóäîæíèê íàðèñîâàë íîãè å¸ è áåäðà òàê, ÷òî ãëàç íå ìîã è æåëàòü áîëüøåãî. Âíèçó ÿ âåëåë íàïèñàòü: O-Morphi. Ñëîâî ýòî íå èç Ãîìåðà, íî âïîëíå ãðå÷åñêîå; îçíà÷àåò îíî Êðàñàâèöà."
Äæàêîìî Äæèðîëàìî Êàçàíîâà
"Èñòîðèÿ ìîåé æèçíè"

Îòäûõàþùàÿ îäàëèñêà
(Ïîðòðåò ìàäåìóàçåëü Ëóèçû Î'Ìåðôè)
(Resting odalisque, also known as Portrait of Marie-Louise O'Murphy)
1752_59 õ 73_õ.,ì.
Ìþíõåí, Ñòàðàÿ Ïèíàêîòåêà


Áåëîêóðàÿ îäàëèñêà
(Ïîðòðåò ìàäìóàçåëü Ëóèçû Î'Ìåðôè)
(The Blonde Odalisque, also known as Portrait of Marie-Louise O'Murphy)
1751_59.5 õ 73.5_õ.,ì.
ʸëüí, Âàëüðàôà-Ðèõàðöà

- ß áîëüøå íå èíòåðåñíà êîðîëþ! - ìàðêèçà äå Ïîìïàäóð çàêðûëà ëèöî ðóêàìè. Ìàäàì Îññå íåæíî îáíÿëà åå çà ïëå÷è.
- Âñå îáîéäåòñÿ, ìàäàì.
- Ìíå ñêîðî ñîðîê, ìîé îðãàíèçì óæå íå âûäåðæèâàåò íè ëþáîâíûõ âîçëèÿíèé, íè àáîðòîâ. Ëþäîâèêó íðàâÿòñÿ ìîëîäûå æåíùèíû, à çäåñü â Âåðñàëå ëþáàÿ äåâèöà íîðîâèò ïðûãíóòü ê êîðîëþ â ïîñòåëü! Íåóæåëè ìíå ñòîèò âîïëîòèòü ìîþ äàâíþþ çàäóìêó, Îëåíèé ïàðê?
- Îëåíèé ïàðê? - ñïðîñèëà ìàäàì Îññå óäèâëåííî.- ß ÷òî-òî î íåì íå ñëûøàëà.
- Êîðîëþ íàäî ðàçâëåêàòüñÿ. - îòâåòèëà Ïîìïàäóð.

Ôðàíñóà Áóøå
Ïîðòðåò ìàðêèçû äå Ïîìïàäóð


ab. 1510 Jörg Breu the Elder
Portrait of a Young Man
(San Diego Museum of Art)


Ìàðòèí Êîáåð
Êîðîëü Ïîëüøè Ñèãèçìóíä III Âàçà (1566-1632)
Êîëëåêöèÿ æèâîïèñè çàìêà Àìáðàñ â îêðåñòíîñòÿõ Èíñáðóêà

Ñîôîíèñáà Àíãèøîëà
Ôèëèïï II, êîðîëü Èñïàíèè
Êîëëåêöèÿ æèâîïèñè çàìêà Àìáðàñ â îêðåñòíîñòÿõ Èíñáðóêà


ab. 1465-1470 Master of the Mornauer Portrait
Duke Sigismund of Austria
(Alte Pinakothek)
Romulus and Remus,
A narrative classical tapestry, Madrid, woven
by Artesanía Española dated MCMXLI (1941),
copy after a 16th century (1525-1530) Brussels cartoon, from the circle of Bernard van Orley (ca. 1492-1542),
border design after Joss van Liere
![]()
Bernard van Orley (circa 1491/1492–1542)
Adoration of the Kings
circa 1530 –35
Metropolitan Museum of Art

Äâàäöàòü òðåòüåãî àâãóñòà 1628 ãîäà àíãëèéñêèé ïîðòîâûé ãîðîä Ïîðòñìóò áûë ïåðåïîëíåí âîåííûìè è ïðèäâîðíûìè. Ëó÷øèé äîì â ãîðîäå, ïðåäîñòàâëåííûé ãëàâíîêîìàíäóþùåìó, íàïîìèíàë ï÷åëèíûé óëåé: ãîíöû è îðóæåíîñöû ñíîâàëè âî âñåõ íàïðàâëåíèÿõ, âîåíà÷àëüíèêè ñîâåùàëèñü î òîì, ÷òî òåïåðü äåëàòü.

John Hoskins,
George Villiers, 1stDuke of Buckingham, c. 1628-9,
watercolour on vellum laid on playing card, 5.2 x 4.2 cm,
Royal Collection.

Ïèòåð Ïàóëü Ðóáåíñ
Ïîðòðåò Äæîðäæà Âèëëåðñà, ãåðöîãà Áàêèíãåìà
1625
àëåðåÿ Ïàëàòèíà Ôëîðåíöèÿ

Íàêàíóíå ôðàíöóçû ñíÿëè îñàäó ñ ïðîòåñòàíòñêîé òâåðäûíè – ãîðîäà Ëà Ðîøåëè, è òåïåðü ïîìîùü àíãëè÷àí òàì áûëà íå íóæíà. Çíà÷èëî ëè ýòî ïðåêðàùåíèå âîéíû? Äëÿ òîãî ÷òîáû ïðèíÿòü îêîí÷àòåëüíîå ðåøåíèå, ãëàâíîêîìàíäóþùåìó ñëåäîâàëî âåðíóòüñÿ â Ëîíäîí – ê ïàðëàìåíòó è êîðîëþ.

after Daniel Mytens
George Villiers, First Duke of Buckingham (1592-1628)

Äîðîæíûé ýêèïàæ áûë ïîäàí, è áëèñòàòåëüíûé âåëüìîæà â ñîïðîâîæäåíèè ñâèòû øåë ïî êîðèäîðó ê ïàðàäíûì äâåðÿì. Âíåçàïíî îòêóäà-òî èç-çà óãëà ìåëüêíóëà ÷åðíàÿ òåíü, ñâåðêíóëî ëåçâèå êèíæàëà, è ÷åðåç ñåêóíäó âñå áûëî êîí÷åíî. Ãåðöîã Áýêèíãåì, ôàêòè÷åñêèé âëàäûêà Àíãëèè, òðèíàäöàòü ëåò îñëåïëÿâøèé Åâðîïó áëåñêîì ñâîèõ ïîáåä íå ñòîëüêî íà ïîëÿõ ñðàæåíèé, ñêîëüêî â àëüêîâàõ êðàñàâèö, áûë óáèò íåêèì Äæîíîì Ôåëüòîíîì, ñîëäàòîì è ïðîòåñòàíòîì-ôàíàòèêîì, êîòîðûé äàæå è íå äóìàë áåæàòü ñ ìåñòà ïðåñòóïëåíèÿ, à ïðåñïîêîéíî îòäàëñÿ â ðóêè ñòðàæè. Óáèéöà çàÿâèë, ÷òî “ïîêàðàë íå÷åñòèâöà”, è ÷åðåç íåñêîëüêî äíåé áûë ïîâåøåí.
![]()
Paul van Somer (1576/1578–1622)
George Villiers, 1st Duke of Buckingham
1576/1621
Oil on wood 87 x h74.9 cm (overall)
Museum of Fine Arts, Houston

Æàí Ôðåäåðèê Øàëëü (Jean Frédéric Schall, 1752-1825) – ôðàíöóçñêèé õóäîæíèê ýïîõè ðîêîêî.
Ðîäèëñÿ â Ñòðàñáóðãå â 1752 ãîäó è ïîëó÷èë íà÷àëüíîå îáðàçîâàíèå â ñâîåì ðîäíîì ãîðîäå â Ãîñóäàðñòâåííîé øêîëå ðèñîâàíèÿ (Ecole publique de Dessin) îê.1768

Ïîðòðåò äàìû, âåðîÿòíî, Ìàðè-Ìàäëåí Ãèìàð, òàê íàçûâàåìîé ìàäåìóàçåëü Ãèìàð, áàëåðèíû ïàðèæñêîé Îïåðû
32.5 õ 24.2_õ.,ì.
×àñòíîå ñîáðàíèå
 1772 ãîäó îí ïîêèíóë ñâîé äîì, ÷òîáû ïðîäîëæèòü ó÷åáó â Ïàðèæå â ìàñòåðñêîé Ôðàí÷åñêî Äæóçåïïå Êàçàíîâà (Francesco Giuseppe Casanova, 1727-1802).

Äàìà ñ ãèðëÿíäîé öâåòîâ â ñàäó
(A Young Lady In A Garden, Holding A Garland Of Flowers)
42.6 õ 33_õ.,ì.
×àñòíîå ñîáðàíèå

Òàíöîâùèöà â ñèíåì ñ æåëòûì ïëàòüå
(Danseuse a la robe bleue et jaune)
32 õ 23_õ.,ì.
Ôðàíöèÿ, Ëàçóðíûé Áåðåã, Âèëëà Ýôðóññè-äå-Ðîòøèëüä
Â1775 ãîäó Øàëëü áûë ïðèíÿò â Êîðîëåâñêóþ àêàäåìèþ æèâîïèñè è ñêóëüïòóðû (Académie royale de Peinture et Sculpture), ãäå îí îáó÷àëñÿ ñðåäè ïðî÷èõ ïîä ðóêîâîäñòâîì Íèêîëÿ Ðåíå Æîëëåíà (Nicolas René Jollain, 1732-1804) è Íèêîëÿ Áåðíàðà Ëåïèñüå (Nicolas Bernard Lépicié, 1735-1784).
Âåðøèíà òâîð÷åñòâà ïîñëåäíèõ ëåò æèçíè õóäîæíèêà — êàðòèíà «Øóáêà» èç ñîáðàíèÿ Âåíñêîãî ìóçåÿ. Âîçìîæíî, õóäîæíèê íå çàäàâàëñÿ öåëüþ ñïåöèàëüíî ïèñàòü ïîðòðåò æåíû. Îí, âèäèìî, ñîçäàí âñåãî ëèøü â ïåðåðûâàõ, êîãäà Åëåíà Ôîóðìåíò îòäûõàëà îò óòîìèòåëüíîãî ïîçèðîâàíèÿ.

Peter Paul Rubens (1577-1640)
Helene Fourment in a Fur Coat
(The Furlet, "Øóáêà")
176 x 83 ñ_ìäåðåâî, ìàñëî,
1638
Ìóçåé èñòîðèè èñêóññòâ, Âåíà


Peter Paul Rubens (1577-1640)
Helene Fourment in a Fur Coat
(The Furlet, "Øóáêà")
176 x 83 ñ_ìäåðåâî, ìàñëî,1638
Ìóçåé èñòîðèè èñêóññòâ, Âåíà

Ïîëíàÿ ðàñêîâàííîñòü, íåïðèíóæäåííîñòü ïîçû è ïîìîãëè ñîçäàòü øåäåâð. Îí íå ïîáîÿëñÿ - ðåøèë, ÷òî êðàñîòà åãî Åëåíû äîëæíà îñòàòüñÿ íàâñåãäà: õóäîæíèê ñîçäàë ðåäêèé ïî îòêðîâåííîñòè ëè÷íîãî ÷óâñòâà îáðàç îáíàæåííîé Åëåíû ñ íàêèíóòîé íà ïëå÷è áàðõàòíîé, îòîðî÷åííîé ìåõîì øóáêîé.
Circle of Sir Peter Paul Rubens
PORTRAIT OF A YOUNG WOMAN
(Ïîðòðåò æåíùèíû ñ áåëûì âîðîòíèêîì)

Êîãäà ìû ñëûøèì èìÿ Ðóáåíñà, ïåðåä íàøèì âíóòðåííèì âçîðîì âîçíèêàþò ãðîìàäíûå ìíîãîôèãóðíûå êîìïîçèöèè ñ áóðëÿùèì äâèæåíèåì ôèãóð è ïûøíîòåëûå çëàòîêóäðûå êðàñàâèöû — ïëîòü è êðîâü ñòàðèííîé öâåòóùåé Ôëàíäðèè. Ýòè îáðàçû çàñëîíÿþò ïîä÷àñ äðóãèå ñòîðîíû ïëîäîòâîðíîé õóäîæåñòâåííîé äåÿòåëüíîñòè Ðóáåíñà, â òîì ÷èñëå è åãî ìàñòåðñòâî ïîðòðåòèñòà.

Ðóáåíñ, Ïèòåð Ïàóëü (è ìàñòåðñêàÿ)
Æåíñêèé ïîðòðåò ((Helene Fourment)
Îêîëî 1620-1630 98×76 ñì.
Ìàóðèöõ¸éñ


Ïèòåð Ïàóëü Ðóáåíñ
or
Attributed to Jan Boeckhorst after Rubens
Ïîðòðåò Åëåíû Ôóðìàí
îê1630. 65õ50.
Êîðîëåâñêèé ìóçåé èñêóññòâ Áðþññåëü
or
Antwerp Rubenshuis


Ïèòåð Ïàóëü Ðóáåíñ
Àâòîïîðòðåò ñ Èçàáåëëîé Áðàíäò
1609-10. 178õ136.
Ñòàðàÿ ïèíàêîòåêà Ìþíõåí

 òå÷åíèå ñâîåé æèçíè åìó ïðèøëîñü íàïèñàòü ìíîãî ïîðòðåòîâ. Ïðè÷åì, åñëè íåêîòîðûå êðóïíûå êîìïîçèöèè, ñîçäàííûå ïî ýñêèçàì Ðóáåíñà â åãî ìàñòåðñêîé ñ ïîìîùüþ ìíîãî÷èñëåííûõ ó÷åíèêîâ, õðàíèëè èíîãäà òîëüêî ñëåäû ñîáñòâåííîðó÷íîé ðàáîòû, òî ïîðòðåòû, îñîáåííî ðîäíûõ è äðóçåé, îí ïèñàë ñàì îò ïåðâîíà÷àëüíîãî ýñêèçà äî îêîí÷àòåëüíîãî çàâåðøåíèÿ.

Ïèòåð Ïàóëü Ðóáåíñ
Àâòîïîðòðåò ñ Èçàáåëëîé Áðàíäò (Äåòàëü)
1609-10. 178õ136.
Ñòàðàÿ ïèíàêîòåêà Ìþíõåí
