Two seasons of love by Paul Gauguin: Virtuous Danish and passionate Tahitian
Paul Gauguin was passionate and enthusiastic, he could instantly be inflamed with passion, but his feelings passed as quickly as they appeared. Only two women left a deep mark on…

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Beloved woman of Boris Kustodiev, in whose name he overcame hellish pain and created his best works
“Dear Yulik” - that’s what Boris Kustodiev called Yulia Proshinskaya, which was everything for the artist: a faithful and selfless wife, and the greatest love, and a devoted friend, and…

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Symbolism of the most mysterious stone: Women with pearls in the paintings of famous artists
The dual nature of pearls has inspired artists at all times: pearls have been used for centuries as attributes of vanity, purity, innocence and even generosity. According to the National…

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reproductions

How Peter Konchalovsky managed to avoid repression and why the artist was called the Soviet Cezanne

Not many painters who disobeyed the socialist regime in times of bloody repression managed to escape punishment. Today I would like to recall the name of one of them – Pyotr Petrovich Konchalovsky. In those terrible years, the artist managed to remain a “pure” painter who avoided the embodiment of socialist reality and portraits of its leaders in his creations. Moreover, to take as a basis for his work the direction of the hostile Western art, which is why he was named in his time – the Soviet Cezanne.

It should be noted that the great merit of Anatoly Lunacharsky, the first People’s Commissar of Education of the RSFSR, was that Pyotr Petrovich was allowed to create freely, despite the attacks of critics who longed for the proletarian coup and the ecstasy of socialist work in the artist’s works. Anatoly Vasilievich convinced the guardians of the dogmas of socialist realism that Konchalovsky in his modern day “sings the poetry of our everyday life” and, apparently, the People’s Commissar did quite well. Continue reading

The riddle and curse of the “Crying Boy”: Why Amadio was called the devil painter

The Italian painter Bruno Amadio, who worked under the pseudonym Giovanni Bragolin, is considered to be the most dramatic and sinister artist in the history of art of the 20th century, who was called the devil painter. His name, in particular, is associated with a terrible story that terrifies many who have encountered his creation “The Crying Boy”, covered in a terrible legend, rumors and speculation.

A few words about the artist

Bruno Amadio (Giovanni Bragolin) was born in 1911 and lived a fairly long life, leaving a number of art paintings that depict crying children. Despite the fact that the artist lived in the last century, very little information has been preserved about him. After his life, there were practically no personal photos left, he never gave interviews to journalists, art historians did not write their reviews about him. It is only known that in the war years he was a member of World War II, who fought on the side of Mussolini. At the end of the war he moved to Spain, and already there he changed his real name from Bruno Amadio to Giovanni Bragolin. Later he lived and worked in Venice, was a restoration artist. Continue reading

The tragedy of the author of the most famous portrait of Chekhov: How he lost his family and paintings, and why he got to Solovki Osip Braz
Over several centuries of development, Russian culture has presented the world with a galaxy of brilliant painters, whose works are included in the world treasury of fine art. Among them…

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7 beloved women by Pablo Picasso
“If he had not become an artist, he would have become Don Juan,” once said a friend of Pablo Picasso, the French playwright Jacques Cocteau. And it’s hard to disagree…

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“Love Letter” by Jan Vermeer: Why the lute is central to the picture
At the first glance at Jan Vermeer's famous painting “Love Letter”, the name seems far-fetched, because the letter itself is hardly noticeable. But the lute in the hands of a…

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How Pavel Tretyakov competed with the emperor to create the most famous art gallery in Moscow
Before the revolution, patronage of the arts was considered not only charitable, but also beneficial for the donor himself, and the point here was not taxes at all. According to…

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