According to the rules of strolling it is important to walk slowly and aimlessly, to mix with the crowd, but remain separate from it, apart. For a creative person, whether a writer or an artist, strolling is an invaluable experience of studying people, types, movements and external manifestations of characters. A black top hat, thin gloves, a cane, a slow gait and an inscrutable face — Edouard Manet was a real flaneur. Skating rinks, Opera, wide boulevards, Hippodrome, dances, tours of Spanish dancers, new stations and squares, world exhibitions-Paris of Manet times was an ideal city for strolling and for the birth of new, modern art.
Paris – Tuileries garden
Edouard Manet changed apartments several times and workshops many times. He never worked at home — and preferred to rent a Studio separately. But always, always it was the houses and streets of the quarter of Batignolles, or places nearby. Continue reading
We continue to collect children’s opinions about the works of famous artists. Which picture is the most terrible, and which is the most beautiful? We remind you that in our blitz-category “Children’s art” every week on the main page of “Arthiva” there is a small story about what one child thinks about one picture. And then we collect a few comments, and present them in the form of a publication.
As have changed mores pupils for 350 years
Vlad, 12, talks about his impressions of Jan Sten’s painting “a School class with a sleeping teacher.” Continue reading
The opening of the Moscow Public and Rumyantsev Museum in 1862 significantly stimulated the collecting activities of Muscovites, many of whom came from a merchant environment. By the opening of the Museum in 1862, the Hermitage transferred to its collection two hundred paintings by Western European masters, however, during the existence of the Museum (a little more than fifty years), its picture gallery was significantly enriched by the gifts of private individuals.in 1924, the picture gallery of the Rumyantsev Museum almost completely passed to the GMII. The Italian school, which occupied two of the six exhibition halls of the Museum, was represented mainly by paintings of painters of the XVII-XVIII centuries. The works of such masters as Guercino, Pietro da Cortona, Alessandro Turki, Paolo Pagani, Luca Giordano, can now be seen in the Museum. Continue reading