Ñåñèë Êåííåäè (Cecil Kennedy, 1905 - 1997) - àíãëèéñêèé æèâîïèñåö, ìàñòåð íàòþðìîðòà. Ðîäèëñÿ 4 ôåâðàëÿ 1905 ãîäà â Ëåéòîíå, â áîëüøîé âèêòîðèàíñêîé ñåìüå õóäîæíèêîâ.
Ëåòî
(Summer)
50.8 x 60.9_õ.,ì.
×àñòíîå ñîáðàíèå
Ðàííåå ëåòî
(early summer)
51 õ 73_õ.,ì.
×àñòíîå ñîáðàíèå

Ðàçëè÷íûå öâåòû â ïëåòåíîé êîðçèíå
(Roses, dog roses, stocks, hydrangeas and other flowers in a basket)
63.5 x 76.2_õ.,ì.
×àñòíîå ñîáðàíèå
Êåííåäè ÿâëÿåòñÿ îäíèì èç ñàìûõ èçâåñòíûõ ïðåäñòàâèòåëåé
Cesare Dandini
FLORENCE 1596 - 1657
MADONNA AND CHILD WITH SAINT JOHN THE BAPTIST
oil on canvas
29 3/4 by 22 1/8 in.; 75.6 by 56.2 cm.
1475-1480 Master of Saint Lucy Legend
Virgin among Virgins in the Rose Garden
[ïîêàçàòü]

[ïîêàçàòü] Æàí Îíîðå Ôðàãîíàð
Ïåâèöà ñ íîòíûì ëèñòêîì
81x65
×àñòíàÿ êîëëåêöèÿ
[ïîêàçàòü] Æàí Îíîðå Ôðàãîíàð
×èòàþùàÿ äåâóøêà
1775-80. 69x55
Ìóçåé Ìåòðîïîëèòåí, Íüþ-Éîðê
(Metropolitan Museum of Arts, New York)
[ïîêàçàòü] Æàí Îíîðå Ôðàãîíàð
Ìàëü÷èê ñ äèêîâèíêîé, âîçìîæíî ñûí õóäîæíèêà, Àëåêñàíäð-Ýâàðèñò (1780-1850)
31x24
×àñòíàÿ êîëëåêöèÿ
[ïîêàçàòü]

Master of the Queen's household,
George Seton, 7th Lord Seton (c.1531 - 1586)
1561
Scottish National Portrait Gallery in Edinburgh, United Kingdom.
[ïîêàçàòü] Joos van Cleve,
Portrait of a Lady, three-quarter-length in a black dress and bonnet and fur cloak
Ëóêàñ Êðàíàõ II


Æàí Ôðàãîíàð ñîçäà¸ò ñåðèþ ïîëîòåí, ðèñóÿ ôðàíöóçñêèå ïàðêè. Îí ïðîÿâèë áëåñòÿùèå ãðàôè÷åñêèå ñïîñîáíîñòè. Îòðàæàÿ ïàðêîâûå ìåñòíîñòè, èñïîëüçóåò áèñòð, ñàíãèíó, àêâàðåëü, òóøü. Ðèñóíêè äåìîíñòðèðîâàëè ñâåæåñòü ïîëó÷åííûõ âïå÷àòëåíèé ñîâìåñòíî ñ ôàíòàñòè÷åñêèìè ýëåìåíòàìè. «Èãðà â æìóðêè», «Ïðàçäíèê â Ðàìáóéå» ïåðåäàþò íåâåðîÿòíóþ íàñûùåííîñòü ñâåòîì è âîçäóøíîñòü.
[ïîêàçàòü] Æàí Îíîðå Ôðàãîíàð
Îñòðîâ ëþáâè
îê1770. 71x90
Ìóçåé Ãàëóñòà Ãþëüáåíêÿíà, Ëèññàáîí
(Museu Calouste Gulbenkian, Lisboa).
[ïîêàçàòü] Æàí Îíîðå Ôðàãîíàð
Ìàëåíüêèé ïàðê (Ñàäû âèëëû ä´Ýñòå)
1762-63. 36x45
Ñîáðàíèå Óîëëåñ, Ëîíäîí
(Wallace Collection, London)
[ïîêàçàòü] Æàí Îíîðå Ôðàãîíàð
Ïðàçäíèê â Ñåí-Êëó
1775-80. 216x335
×àñòíàÿ êîëëåêöèÿ
Æàí Îíîðå Ôðàãîíàð
Ïàñòîðàëüíûé ïåéçàæ ñ ïàñòóõîì è ïàñòóøêîé
117x156
×àñòíàÿ êîëëåêöèÿ
[ïîêàçàòü]
Êàòàëèíà Ìèêàýëà Àâñòðèéñêàÿ (èñï. Catalina Micaela de Austria, 10 îêòÿáðÿ 1567, Ìàäðèä — 6 íîÿáðÿ 1597, Òóðèí) — èñïàíñêàÿ èíôàíòà è ãåðöîãèíÿ Ñàâîéñêàÿ, æåíà Êàðëà Ýììàíóèëà I Ñàâîéñêîãî, ìàòü Âèêòîðà Àìàäåÿ I.

Jan Kraeck
called Giovanni Caracca (ca. 1550-1607)
Portrait of Infanta Catalina of Spain, Duchess of Savoie.
Black chalk and pencil.
Marty de Cambiaire at the Salon du dessin 2015, 25 - 30 March.
Êàòàëèíà Ìèêàýëà áûëà ìëàäøåé äî÷åðüþ êîðîëÿ Èñïàíèè Ôèëèïïà II è åãî òðåòüåé æåíû Åëèçàâåòû Âàëóà. Îíà áûëà íàçâàíà â ÷åñòü ñâîåé áàáêè ïî-ìàòåðèíñêîé ëèíèè Åêàòåðèíû Ìåäè÷è è ñâ. Ìèõàèëà. Îíà ïîòåðÿëà ñâîþ ìàòü î÷åíü ðàíî, êîãäà åé áûë âñåãî îäèí ãîä, òà óìåðëà ïîñëå î÷åðåäíûõ íåóäà÷íûõ ðîäîâ. Êàòàëèíà Ìèêàýëà ðîñëà âìåñòå ñî ñâîåé ñòàðøåé ñåñòðîé Èçàáåëëîé Êëàðîé Åâãåíèåé ïðè äâîðå ñâîåãî îòöà ïîä ïðèñìîòðîì êîðìèëèöû Ìàðèè äå Ìåññà.
Êàòàëèíà Ìèõàýëà âûøëà çàìóæ 18 ìàðòà 1585 ãîäà â Ñàðàãîñå çà ãåðöîãà Êàðëà Ýììàíóèëà I Ñàâîéñêîãî è ïîêèíóëà èñïàíñêèé äâîð. Êàòàëèíà ïîñëå çàìóæåñòâà áîëüøå ñâîåãî îòöà íå âèäåëà. Íåñìîòðÿ íà ðàçëóêó îíà äî ñàìîé åãî ñìåðòè âåëà îæèâëåííóþ ïåðåïèñêó ñ îòöîì è äðóãèìè ÷ëåíàìè ñåìüè.
Êàòàëèíà ðîäèëà 10 äåòåé è áûëà áîëüøóþ ÷àñòü ñåìåéíîé æèçíè íà ñíîñÿõ. Îíà óìåðëà â âîçðàñòå 30 ëåò 6 íîÿáðÿ 1597 ãîäà â Òóðèíå îò îñëîæíåíèé, âûçâàííûõ ïðåæäåâðåìåííûìè ðîäàìè ÷åðåç ãîä ïîñëå ðîæäåíèÿ ñâîåãî ïîñëåäíåãî ðåá¸íêà, Òîìàñà Ôðàíöèñêà Ñàâîéñêîãî. Òîìàñ Ôðàíö áûë äåäîì
Éîñ âàí Êëåâå, íàñòîÿùåå èìÿ âàí äåð Áåêå (Joos van der Beke, Joos van Cleve, äàòà ðîæäåíèÿ íåèçâåñòíà, ïðåäïîëîæèòåëüíî Âåçåëü — 1540-41, Àíòâåðïåí) — íèäåðëàíäñêèé õóäîæíèê.
Workshop of Joos van Cleve
CLEVE (?) DATE UNKNOWN - 1540/1 ANTWERP
VIRGIN AND CHILD WITH A PEAR
oil on oak panel, lozenge shaped
35 x 35 cm.
Ñåñèë Êåííåäè (Cecil Kennedy, 1905 - 1997) - àíãëèéñêèé æèâîïèñåö, ìàñòåð íàòþðìîðòà. Ðîäèëñÿ 4 ôåâðàëÿ 1905 ãîäà â Ëåéòîíå, â áîëüøîé âèêòîðèàíñêîé ñåìüå õóäîæíèêîâ.
Ëåòî
(Summer)
50.8 x 60.9_õ.,ì.
×àñòíîå ñîáðàíèå
Ðàííåå ëåòî
(early summer)
51 õ 73_õ.,ì.
×àñòíîå ñîáðàíèå

Ðàçëè÷íûå öâåòû â ïëåòåíîé êîðçèíå
(Roses, dog roses, stocks, hydrangeas and other flowers in a basket)
63.5 x 76.2_õ.,ì.
×àñòíîå ñîáðàíèå
Êåííåäè ÿâëÿåòñÿ îäíèì èç ñàìûõ èçâåñòíûõ ïðåäñòàâèòåëåé
[ïîêàçàòü] Æàí Îíîðå Ôðàãîíàð
Ïîðòðåò ìîëîäîé äàìû
1770-72. 63x53
Ìóçåé Òèññåíà-Áîðíåìèñû, Ìàäðèä
(El Museo de arte Thyssen-Bornemisza, Madrid).
[ïîêàçàòü] Æàí Îíîðå Ôðàãîíàð
Ìîëîäàÿ áðþíåòêà
1768-70. 46x39
Ìóçåé èñêóññòâ Ôîãã Ãàðâàðäñêîãî óíèâåðñèòåòà, Êåìáðèäæ
(Fogg Art Museum, Harvard University, Cambridge).
[ïîêàçàòü] Æàí Îíîðå Ôðàãîíàð
Ó÷åíüå
1769, 82õ66
Ëóâð, Ïàðèæ (Musée du Louvre, Paris).
[ïîêàçàòü] Æàí Îíîðå Ôðàãîíàð
Ïîðòðåò þíîøè â øëÿïå ñ ïåðüÿìè
îê1785. 46x39
Ìóçåé Êîíüÿê-Æý, Ïàðèæ
(Musee Cognac-Jay, Paris).
[ïîêàçàòü]

[ïîêàçàòü] Æàí Îíîðå Ôðàãîíàð
Ìóçûêàëüíîå ñîñòÿçàíèå
1754-55. 62x74
Ñîáðàíèå Óîëëåñ, Ëîíäîí
(Wallace Collection, London).
Æàí Îíîðå Ôðàãîíàð
Áóáëèê (Äåâóøêà, èãðàþùàÿ ñ ñîáà÷êîé)
îê1768. 61x77
×àñòíàÿ êîëëåêöèÿ
[ïîêàçàòü] Æàí Îíîðå Ôðàãîíàð
Ðîçû
82x65
×àñòíàÿ êîëëåêöèÿ
ßêîáóñ Ëèíòõîðñò (Jacobus Linthorst, 1745 Àìñòåðäàì – 1815 Àìñòåðäàì) - ãîëëàíäñêèé õóäîæíèê, ñïåöèàëèçèðîâàâøèéñÿ íà íàòþðìîðòàõ.
Íàòþðìîðò ñ öâåòàìè â óðíå è ïòè÷üèì ãíåçäîì
(Still life with flowers in an urn and bird's nest)
1796_78 õ 63.3_õ.,ì.
×àñòíîå ñîáðàíèå
Íàòþðìîðò ñ êîðçèíîé öâåòîâ íà ìðàìîðíîì âûñòóïå
1813_43.9 õ 35.4_ä.,ì.
×àñòíîå ñîáðàíèå
ßêîáóñ Ëèíòõîðñò, êàæåòñÿ, ïðîæèë âñþ æèçíü â ðîäíîì Àìñòåðäàìå, ãäå çàðåãèñòðèðîâàí â Ãèëüäèè Ñâÿòîãî Ëóêè ñ 1789 ãîäà. Îí áûë ó÷èòåëåì äðóãîãî ñïåöèàëèñòà ïî íàòþðìîðòàì ßíà Ýâåðòà Ìîðåëÿ (Jan Evert Morel, 1769-1808).
|

Giovan Bernardo Lama
ACTIVE NAPLES, SECOND HALF 16TH CENTURY
MADONNA AND CHILD
oil on panel
73.7 x 60.4 cm.; 29 x 23 3/4 in.
Alessandro di Mariano Filipepi, called Botticelli and Studio
FLORENCE 1445-1510
THE MADONNA AND CHILD
oil on panel
31 1/2 by 20 in.; 80 by 50.8 cm.
Carlo Maratta
CAMERANO 1625 - 1713 ROME
THE HOLY FAMILY, THE MADONNA AND CHILD READING
oil on canvas, unframed
66.3 x 49.3 cm.; 26 1/8 x 19 3/8 in.
[ïîêàçàòü]
Ôðàãîíàð áûë óâëåêàþùåéñÿ ëè÷íîñòüþ, îí ïîñòîÿííî ìåíÿë ñòèëü èçîáðàæåíèÿ, ïåðåñòðàèâàë ñâîþ ëèðó è ïèñàë â ðàçëè÷íûõ íàïðàâëåíèÿõ. Åãî øåäåâð «Êà÷åëè» íàïîëíåí òðåïåòîì, ÷óâñòâåííîñòüþ è ñ÷àñòüåì. Äåêîðàòèâíûé êîëîðèò ãàðìîíè÷íî ïåðåñåêàåòñÿ ñ êîìïîçèöèîííûì ðèòìîì.
Æàí Îíîðå Ôðàãîíàð
Êà÷åëè
1767. 83x65
Ñîáðàíèå Óîëëåñ, Ëîíäîí
(Wallace Collection, London)
Æàí Îíîðå Ôðàãîíàð
Êà÷åëè (äåòàëü)
1767. 83x65
Ñîáðàíèå Óîëëåñ, Ëîíäîí
(Wallace Collection, London)
Îäíîâðåìåííî íàïèñàííûå ïîðòðåòíûå ïðîèçâåäåíèÿ ðàçðóøàëè óñòîÿâøèåñÿ êàíîíû òîãî âðåìåíè. Çàïå÷àòë¸ííûé â ìîìåíò îçàðåíèÿ ôèëîñîô íà ïîëîòíå «Ïîðòðåò Äåíè Äèäðî» äîêàçûâàåò ýòî. Ðàáîòà ýêñïðåññèâíà è äèíàìè÷íà, à å¸ öâåòîâîå ðåøåíèå ãîâîðèò îá èçìåí÷èâîñòè íàòóðû.
[ïîêàçàòü] Æàí Îíîðå Ôðàãîíàð
Èãðà â æìóðêè
1750-52. 117õ91
Ìóçåé èñêóññòâ, Òîëåäî, Îãàéî
(Museum of Art, Toledo, Ohio)

Áåííåòò Îóòñ (Bennett Oates, 1928 – 2009) – àíãëéñêèé ìàñòåð íàòþðìîðòà, ðîäèâøèéñÿ â Ëîíäîíå â 1928 ãîäó.
 âîçðàñòå 15 ëåò Áåííåò íàðèñîâàë ñâîþ ïåðâóþ êàðòèíó è áûë ïðèíÿò â Êîðîëåâñêèé êîëëåäæ èñêóññòâ.
Íàòþðìîðò ñ öâåòàìè â ñòåêëÿííîé âàçå íà ìðàìîðíîì âûñòóïå
51 x 61_ä.,ì.
×àñòíîå ñîáðàíèå
Íàòþðìîðò ñ öâåòàìè â ñòåêëÿííîé âàçå íà ìðàìîðíîì âûñòóïå
61 x 54_ä.,ì.
×àñòíîå ñîáðàíèå
 ðàáîòàõ Îóòñà ïðîñìàòðèâàåòñÿ âëèÿíèå ãîëëàíäñêîé øêîëû 17-ãî è 18-ãî âåêîâ.
Îóòñ øèðîêî âûñòàâëÿëñÿ â õóäîæåñòâåííûõ ãàëåðåÿõ ïî âñåé Âåëèêîáðèòàíèè è äîñòèã ìèðîâîãî ïðèçíàíèÿ åùå ïðè æèçíè.
Workshop of Alessandro Filipepi, called Sandro Botticelli
MADONNA AND CHILD WITH THE INFANT SAINT JOHN THE BAPTIST, SEATED BY A WINDOW, AN EXTENSIVE LANDSCAPE BEYOND
tempera on panel, a tondo
diameter: 32 7/8 in.; 83.5 cm.
Gherardo di Giovanni (di Miniato) del Fora
FLORENCE 1445 - 1497
THE MADONNA AND CHILD WITH AN ATTENDANT ANGEL
tempera on panel, circular, in a carved and gilt wood frame
diameter: 61.5 cm.; 24 1/8 in.
Alessandro di Mariano Filipepi, called Botticelli, and Studio
FLORENCE 1445 - 1510
THE MADONNA AND CHILD ENTHRONED WITH SAINT JOHN THE BAPTIST AND AN ANGEL
tempera on panel, a tondo
diameter: 34 3/8 in.; 86.3 cm.
[ïîêàçàòü]
Æàí Îíîðå Ôðàãîíàð – ïðèçíàííûé ëþáèòåëü, èìïðîâèçàòîð ôðàíöóçñêîãî èñêóññòâà XVIII âåêà. Ïðîñëàâëåííûé ìàñòåð æèâîïèñè è ãðàâþðû, îí ñìåëî ýêñïåðèìåíòèðîâàë è îòñòóïàë îò íàòèñêà êëàññèöèçìà. Âíóòðåííèå ïîâîðîòû åãî æèçíåííîãî ïóòè íàøëè îòðàæåíèå â ñîòíÿõ ïðîèçâåäåíèé.
![]()
Æàí Îíîðå Ôðàãîíàð
Ñ÷àñòëèâûå âëþáëåííûå
1760-65. 90õ121
Ìóçåé èñêóññòâ Íîðòîíà Ñàéìîíà
Ïàñàäåíà (Norton Simon museum of Art, Pasadena)
Arcangelo Corelli *Concerto grosso Op. 6 Nr. 8 G-dur 'per la Notte di Natale'*
Ôðàãîíàð, Æàí Îíîðå
Ïîöåëóé óêðàäêîé
Ýðìèòàæ
5 àïðåëÿ 1732 ãîäà, â Ãðàññå íà þãå Ôðàíöèè, â ñåìüå ïåð÷àòî÷íèêà è òîðãîâöà ãàëàíòåðååé, ðîäèëñÿ ñûí. Íåóäà÷íîå êàïèòàëîâëîæåíèå ðàçîðèëî ñåìüþ, è îíà ïåðååçæàåò â Ïàðèæ.  þíîì âîçðàñòå Æàíà óñòðîèëè êëåðêîì â íîòàðèàëüíóþ êîíòîðó, íî çàíÿòèå íå ïðèíîñèëî óäîâîëüñòâèÿ, à åãî ìûñëè áûëè îòäàíû æèâîïèñè.
[ïîêàçàòü] Ïàñòóøêà
1750-52. 118x160
Õóäîæåñòâåííûé ìóçåé, Ìèëóîêè
(Milwaukee Art Museum, Milwaukee)
[ïîêàçàòü]
Ðàôàýëü
Ìóæñêîé ïîðòðåò.
1502-04.
Ëèõòåíøòåéí
ab. 1616 Unknown artist
King Charles I
Anonymous (Northern Netherlands)
Portrait of a Boy, possibly Louis of Nassau.
1604
Rijksmuseum Amsterdam
[ïîêàçàòü]
Êîðíåëü äå Ëèîí (íèäåðë. Corneille de Lyon; îê. 1500, Ãààãà — 8 íîÿáðÿ 1575, Ëèîí) — ôðàíöóçñêèé õóäîæíèê, âûõîäåö èç Íèäåðëàíäîâ.
follower of Corneille de Lyon (1500/1510–1575)
Portrait of a Lady, oil on panel, by a follower of Corneille de Lyon.
oil on panel
21.2 × 15.9 cm

![]()
Corneille de Lyon (1500/1510–1575)
The portrait of François de Bourbon, Count of Enghien

Ñâåäåíèÿ î áèîãðàôèè õóäîæíèêà êðàéíå ñêóäíû. Ïåðâîå óïîìèíàíèå î íåì îòíîñèòñÿ ê 1534, è â ýòî âðåìÿ îí óæå íàõîäèëñÿ â Ëèîíå. Èçâåñòíî, ñîáñòâåííî ãîâîðÿ, ëèøü åãî èìÿ Êîðíåëü: äå Ëèîí — ýòî ïðîçâèùå ïî ìåñòó æèòåëüñòâà, äàííîå åìó â XIX â. áèîãðàôîì Àíðè Áóøî. Âî Ôðàíöèè åãî — ïî ìåñòó ðîæäåíèÿ — çâàëè Êîðíåëü èç Ãààãè, Êîðíåëü äå ëà Ý (ôð. Corneille de La Haye).
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attributed to Corneille de Lyon (1500/1510–1575)
Portrait of Mary of Guise (1515 - 1560), Queen of James V of Scotland and mother of Mary, Queen of Scots
c. 1537
oil on panel 22 × 15.1 cm
Scottish National Portrait Gallery
[ïîêàçàòü]
Éîçåô âàí Áðåäåëü (Jozef van Bredael, Joseph van Bredael, èëè Josef van Bredael; 14 àâãóñòà 1688, Àíòâåðïåí – 2 àïðåëÿ 1739, Ïàðèæ) – ôëàìàíäñêèé õóäîæíèê-ïåéçàæèñò.
Äåðåâåíñêàÿ óëèöà ñ ïóòåøåñòâåííèêàìè
(A village street with travelers)
24 õ 32_ìåäü, ìàñëî
×àñòíîå ñîáðàíèå
Çèìíèé ïåéçàæ ñ ïîâîçêàìè
(A winter landscape with horse-drawn carts)
22.3 õ 30.5_ìåäü, ìàñëî
×àñòíîå ñîáðàíèå
Éîçåô âàí Áðåäåëü áûë âòîðûì ñûíîì àíòâåðïåíñêîãî õóäîæíèêà Éîðèñà âàí Áðåäåëÿ (Joris van Bredael) è Éîõàííû Ìàðèè âàí Äèïåíáåê (Johanna Maria van Diepenbeeck). Òàêæå õóäîæíèêàìè áûëè åãî äåä Ïåòåð âàí Áðåäåëü (Peeter van Bredael) è äâà äÿäè, ßí Ôðàíñ âàí Áðåäåëü (Jan Frans van Bredael) è ßí Ïåòåð Ñòàðøèé (Jan Peeter the Elder), à ìàòü áûëà äî÷åðüþ âûäàþùåãîñÿ æèâîïèñöà Çîëîòîãî