[ïîêàçàòü]Harry Roseland
[ïîêàçàòü]Henri Bouchet-Doumenq
[ïîêàçàòü]James Taylor Harwood (American painter) 1860 - 1940
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Åëèçàâǻòà I (7 ñåíòÿáðÿ 1533 — 24 ìàðòà 1603), Äîáðàÿ êîðîëåâà Áåññ, Êîðîëåâà-äåâà — êîðîëåâà Àíãëèè è êîðîëåâà Èðëàíäèè ñ 17 íîÿáðÿ 1558, ïîñëåäíÿÿ èç äèíàñòèè Òþäîðîâ. Ìëàäøàÿ äî÷ü êîðîëÿ Àíãëèè Ãåíðèõà VIII è åãî âòîðîé æåíû Àííû Áîëåéí.

Unknown British School
Portrait of Elizabeth I of England in stomacher and petticoat embroidered with roses, birds, and honeysuckle in goldwork and blackwork sleeves
circa 1600
Attr. to Isaac Oliver
"The Rainbow Portrait", c.1600.
Hatfield House.
Âðåìÿ ïðàâëåíèÿ Åëèçàâåòû èíîãäà íàçûâàþò «çîëîòûì âåêîì Àíãëèè» â ñâÿçè ñ ðàñöâåòîì êóëüòóðû (ò. í. «åëèçàâåòèíöû»: Øåêñïèð, Ìàðëîó, Áýêîí è äð.) è ñ âîçðîñøèì çíà÷åíèåì Àíãëèè íà ìèðîâîé àðåíå (ðàçãðîì Íåïîáåäèìîé Àðìàäû, Äðåéê, Ðåéëè, Îñò-Èíäñêàÿ êîìïàíèÿ).

formerly attributed to William Scrots (fl. 1537–1554)
Portrait of Elizabeth I as a Princess
circa 1546
oil on oak panel
© Royal Collection, Windsor Castle


Artist Unknown.
Previously attr. to William Stretes.
The Coronation Portrait,
c. 1600.
Copy of 1559 lost original.
© National Portrait Gallery.

Nicholas Hilliard (called) (1547 - 1619)
Portrait of Queen Elizabeth I
Oil on wood panel
(About 1573 - About 1575)
787 mm õ 610 mm
Walker Art Gallery

attributed to William Segar (1564–1633)
The Ermine Portrait of Elizabeth I of England
circa 1585
oil on canvas
Private collection
Hatfield House
workshop of Nicholas Hilliard (1547–1619)
The "Hardwick Hall" portrait of Elizabeth I of England.
circa 1599
Hardwick Hall

Àíäðåé Òàðêîâñêèé «Î Âëàäèìèðå Âûñîöêîì»
ß íèêîãäà íå ìîã ñåáå ïðåäñòàâèòü, ÷òî êî ìíå áóäóò òàê ÷àñòî îáðàùàòüñÿ ïî ïîâîäó Âëàäèìèðà Âûñîöêîãî.
Íå êàæäîìó èçâåñòíî, ÷òî ìû áûëè äðóçüÿìè, ÷òî áûëè, òàê ñêàçàòü, áëèçêè è çíàëè, ïðîñòî çíàëè â òå÷åíèå äâàäöàòè ñ ëèøíèì ëåò äðóã äðóãà.
Íî ðàññêàçûâàòü äðóã î äðóãå ìîæíî âñå, ÷òî óãîäíî, è òåì íå ìåíåå ýòî íå âñåãäà áóäåò ñîîòâåòñòâîâàòü äåéñòâèòåëüíîñòè.
Âëàäèìèð Âûñîöêèé - óíèêàëüíàÿ ëè÷íîñòü.Ó ìåíÿ òàêîå âïå÷àòëåíèå,÷òî îí îäèí èç íåìíîãèõ õóäîæíèêîâ íàøåãî âðåìåíè, æàíð êîòîðîãî ÿ ñîâåðøåííî îïðåäåëèòü íå ìîãó è êîòîðûé ñóìåë âûðàçèòü ñâîå âðåìÿ, êàê íèêòî.
Îí, êîíå÷íî,íèêàêîé íå àêòåð, ïîòîìó ÷òî íà ýòîì ïîïðèùå îí íå äîñòèã âûñîò,êàêèå åìó óäàëèñü â äðóãîì æàíðå.
Îí, êîíå÷íî, ìåòàôîðà â àáñîëþòíîì ñìûñëå ýòîãî ñëîâà.


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ÁÅËÛÌ ÑÍÅÃÎÌ ÓÊÐÛÒÀ ÇÅÌËß

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Ó æåíùèíû, êîòîðàÿ ëþáèìà, |
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Òîìàñ Õåíäðèêñ äå Êåéçåð (Keyser, Thomas Hendricksz. de, 1596/97 Àìñòåðäàì — 1667, òàì æå) - ãîëëàíäñêèé æèâîïèñåö Çîëîòîãî âåêà.

Thomas de Keyser (1596–1667)
Portrait of a Lady
1632
oil on oak wood 79_ cm õ cm
Gemäldegalerie, Berlin


Thomas de Keyser
Portrait of a Lady (detail)
1632

Îí áûë âòîðûì ñûíîì àðõèòåêòîðà è ñêóëüïòîðà Õåíäðèêà äå Êåéçåðà (1565-1621), ñ 1616 Òîìàñ íà ïðîòÿæåíèè äâóõ ëåò ó÷èëñÿ ó îòöà. Áûë æåíàò äâàæäû, ñíà÷àëà â 1626 ãîäó íà Machteld Andries, à çàòåì â 1640 ãîäó íà Aaltze Heymerick. Êåéçåð áûë ÷ëåíîì ãèëüäèè êàìåíîòåñîâ Àìñòåðäàìà è âïëîòü äî 1654 ãîäà, êîãäà îí îñòàâèë ðåìåñëî êàìåíîòåñà, çàíèìàëñÿ æèâîïèñüþ îò ñëó÷àÿ ê ñëó÷àþ.
Thomas de Keyser
AMSTERDAM (?) 1596/7 - 1667 AMSTERDAM
PORTRAIT OF A GENTLEMAN, FULL-LENGTH, HOLDING HIS SWORD AND A HAT, WITH A DOG IN AN INTERIOR
oil on oak panel
1624_87.8 x 61.5 cm.

[ïîêàçàòü]Ïóñòü â òâî¸ì ñåðäöå âñåãäà áóäåò æèòü êóñî÷åê ÷åãî-òî òåïëîãî, ðîäíîãî è...äåòñêîãî. Âîñïîìèíàíèÿ îá àâãóñòîâñêîì çâåçäíîì íåáå, î ïîëåâûõ êîëîñêàõ è î ïåñíå òåïëîãî âåòðà. Ïóñòü òû áóäåøü âñåãäà âîçâðàùàòüñÿ â ñâîþ ìàëåíüêóþ îáèòåëü, êîãäà òåáå áóäåò ãðóñòíî èëè î÷åíü âåñåëî. È íèêòî íèêîãäà íå ñìîæåò îòíÿòü ó òåáÿ ýòó âåùü — ñïîñîáíîñòü ÷óâñòâîâàòü ëþáîâü ê ýòîìó ìèðó.
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ÊÎÄ ÐÀÌÎ×ÊÈ
Æåíùèíà, êàê ãðàíàòà — áåçîïàñíà, ïîêà ñ êîëå÷êîì. Ìóæ÷èíà êàê òàíê — êóäà ïóøêà ñìîòðèò, òóäà è áàøíÿ åäåò.
— Äåäóøêà! À ñêîëüêî âàì ëåò? — Ìíå, äî÷åíüêà, âîñåìüäåñÿò óæå. . . — Îé, íàäî æå! À ÿ áû âàì íå äàëà! — À ìíå óæå è íå íàäî. . . ))
— Íó ÷òî, Øàðèê, êèíóòü òåáå ïàëêó? — Ïîäðóãå ñâîåé êèíü, ïðèäóðîê! ïîäóìàë Øàðèê, ïðÿ÷àñü â áóäêó.
Êàê — òî íà ïðèëàâêå ðàçãîâîðèëèñü êëóáíèêà, ãðåöêèé îðåõ è áàíàí: — Êëóáíèêà: "Ìåíÿ âñå ëþáÿò, ïîòîìó ÷òî ÿ ïîõîæà íà ñåðäå÷êî! " — Îðåõ: "Ïîäóìàåøü ñåðäå÷êî, ÿ ïîõîæ íà ìîçã! " — Áàíàí: "Äðóçüÿ, ìîæåò ñìåíèì òåìó?
Ïðèõîäèò ìóæèê âå÷åðêîì â êðóãëîñóòî÷íóþ àïòåêó ëîæèò ñâþ ïÿòåðíþ íà ïðèëàâîê è íà÷èíàåò ìåäëåííî ïàëüöàìè ïî ïðèëàâêó òàðàáàíèòü. Äåâ÷îíêà ìîëîäàÿ ïðîâèçîð ñïðàøèâàåò: — âàì ÷òî, êðåì äëÿ ðóê? — íåò, ìíå ïÿòü òàáëåòî÷åê âèàãðû, êî ìíå ñåãîäíÿ âå÷åðîì â ãîñòè ïÿòü äåâî÷åê ïðèäóò. Êóïèë òàáëåòêè óøåë äîìîé, ïîä óòðî äâåðü â àïòåêó îòêðûâàåòñÿ çàïîëçàåò åëå æèâîé òîò æå ñàìûé ìóæèê äîïîëçàåò äî ïðèëàâêà èç ïîñëåäíèõ ñèë çàêèäûâàåò ñâþ ïÿòåðíþ íà ïðèëàâîê. Ìîëîäàÿ ïðîâèçîð âñïîìèíàÿ åãî ïðîøëûé âèçèò ñïðàøèâàåò: — ÷òî åùå ïÿòü òàëåòî÷åê âèàãðû? — íåò êðåì äëÿ ðóê, äåâêè íå ïðèøëè.
Åñëè òû äëÿ ïðèêîëà ðåøèë íàêîðìèòü áûêà Âèàãðîé è ïîñìîòðåòü ÷òî ïîëó÷èòñÿ, ïîñìîòðè ñíà÷àëà, à åñòü ëè âîêðóã êîðîâû. À òî ïîòîì ýòî áóäåò òâîåé ñàìîé ñòðàøíîé òàéíîé.

— Äåâóøêà, à Âû íå èç äâîðÿí ñëó÷àéíî? — Äà, íî ... ê àê Âû äîãàäàëèñü? — Óæ áîëüíî ñèñüêè ó Âàñ áëàãîðîäíûå. È ïîïà òàêàÿ ... çíàòíàÿ ..

Ìåíÿ çàèíòåðåñîâàë âîïðîñ - À ñìîæåì ëè ìû ïîíÿòü íàøèõ ïðåäêîâ, åñëè áû ñ íèìè ñòîëêíóëèñü??
Íà Çåìëå íàñ÷èòûâàåòñÿ áîëåå 6000 ÿçûêîâ. Äîñêîíàëüíî èçó÷åíû íàóêîé ìåíåå îäíîãî ïðîöåíòà èç íèõ. Âåêàìè õðàíèë ñâîè ñåêðåòû è ÿçûê äðåâíèõ ñëàâÿí.
Êàê çâó÷àëà æèâàÿ ðå÷ü íàøèõ ïðåäêîâ?
Ìîæåì ëè ìû ñåãîäíÿ óñëûøàòü ãîëîñà ñðåäíåâåêîâûõ ëþäåé?
Êàê èñòîðèêè-ëèíãâèñòû ðàçãàäûâàþò ôîíåòè÷åñêèå òàéíû òûñÿ÷åëåòíåé äàâíîñòè?
Ïîñëóøàåì?