Apotheuses of the Rennaisance – glorification of the art of the Rennaisance.
19-th century. Grand staircase leads upwards just as in the museum. A connoisseur walks up the stairs – his goal is the atelier of the Rennaisance masters. He the foreground we can see the young Raphael and the elderly Leonardo Da Vinci. They seem to be engrossed in a conversation. Rene… Works on a large canvas. In the center Tizian dressed in red clothes and black cap instructs students in sketching nude figures. Below the models Michelangelo leans on the balustrade holding his sculptor’s hammer. Painter of fresco Mihali Munkuchi can be seen above the reclining nude.
There are two of Tizian’s pictures with “nude” women. In both I took a look at the figures of the women. They were curvaceous and round in several parts just as the ones I had seen at Ufisi. It struck me as interesting that the waist was not as inside as I would have thought. If I had looked at just the waist or the hip, it could very well have been that of a man. If you look at the woman in the first painting or the woman on the floor on the right in the second one. The hips are more manly for these two.
I was walking out of a gallery when like an apparition, this painting caught my eye suddenly! The light falling on this lonely lady in a corner had a silencing effect – as you looked at her longer, her face became strict and then sleepy – the strictness remained. As I read the description, I found this was not a lady but King Louis II of Hungary as a child. The long hair and the hairstyle had mislead me. Painting by Bernhard Strigel after 1515.
“Facing death calmly” – said the description, the mirror has skulls and the faces are grim. Was it an immediate eminent death or an inevitable one later? It is also interesting to see that the German of the time is not that different from that of today. Painting of painter Hans Burgkmair and his wife as they aged by his pupil Furtenagel.
These are the first of the two portraits I saw of Holbein. The description talked about the preciseness of Holbein’s portraits. It was interesting for me to see that the older man’s portrait had a softer look against the darker background- perhaps to decrease the harshness of the wrinkles on his face and the pursing of his lips. The younger one has more angles and shadows with all the folds of his clothes being highlighted. As mentioned, the smoothness of both painting techniques were interesting.
There are times when some flashes of history comes to your brain. Portraits in Keerikad had small little beads on them. This painting by Lucas Cranach is explandent in its colours, in its details and one can see elements of beautiful accessories used. One can also see elegance and the “slim” figure of ladies.
The Cupid depicted here has an interesting serious expression – hardly naughty at being caught.