РУБ.

Live Flesh

Live Flesh

Live Flesh

Бренд:

Why did he do it? . Why had it happened? . What sort of fiend was he? . Why should . Victor . Jenner, the child of happily married, middle-class parents, succumb to such violent rages? . Why should he have needed to make motiveless attacks on women? . Victor didnt know. . But . Victor did know that the last ten years - the years in prison - had been a mistake. . He had never intended to harm anyone. . It had all been an accident. . In fact, his life had been a series of accidents, one mistake leading to the next. . Now, out of prison at last, . Victor still isnt free. . The past holds him so he cant go forward. . So . Victor goes back - and begins a chain of accidents, a new string of tragic mistakes.

619.00 Р.

Patrick Bade Courbet

Patrick Bade Courbet

Бренд:

Ornans, . Courbet’s birthplace, is near the beautiful valley of the . Doubs . River, and it was here as a boy, and later as a man, that he absorbed the love of landscape. . He was by nature a revolutionary, a man born to oppose existing order and to assert his independence; he had that quality of bluster and brutality which makes the revolutionary count in art as well as in politics. . In both directions his spirit of revolt manifested itself. . He went to . Paris to study art, yet he did not attach himself to the studio of any of the prominent masters. . Already in his country home he had had a little instruction in painting, and preferred to study the masterpieces of the . Louvre. . At first his pictures were not sufficiently distinctive to arouse any opposition, and were admitted to the . Salon. . Then followed the . Funeral at . Ornans, which the critics violently assailed: “. A masquerade funeral, six metres long, in which there is more to laugh at than to weep over. ” . Indeed, the real offence of . Courbet’s pictures was that they represented live flesh and blood. . They depicted men and women as they really are and realistically doing the business in which they are engaged. . His figures were not men and women deprived of personality and idealised into a type, posed in positions that will decorate the canvas. . He advocated painting things as they are, and proclaimed that la vérité vraie must be the aim of the artist. . So at the . Universal . Exposition of 1855 he withdrew his pictures from the exhibition grounds and set them in a wooden booth, just outside the entrance. . Over the booth he posted a sign with large lettering. . It read, simply: “. Courbet – . Realist. ” . Like every revolutionary, he was an extremist. . He ignored the fact that to every artist the truth of nature appears under a different guise according to his way of seeing and experiencing. . Instead, he adhered to the notion that art is only a copying of nature and not a matter also of selection and arrangement. . In his contempt for prettiness . Courbet often chose subjects which may fairly be called ugly. . But that he also had a sense of beauty may be seen in his landscapes. . That sense, mingled with his capacity for deep emotion, appears in his marines – these last being his most impressive work. . Moreover, in all his works, whether attractive or not to the observer, he proved himself a powerful painter, painting in a broad, free manner, with a fine feeling for colour, and with a firmness of pigment that made all his representations very real and stirring.

133.00 Р.

Georges  Riat Gustave Courbet

Georges Riat Gustave Courbet

Бренд:

Ornans, . Courbet’s birthplace, is near the beautiful valley of the . Doubs . River, and it was here as a boy, and later as a man, that he absorbed the love of landscape. . He was by nature a revolutionary, a man born to oppose existing order and to assert his independence; he had that quality of bluster and brutality which makes the revolutionary count in art as well as in politics. . In both directions his spirit of revolt manifested itself. . He went to . Paris to study art, yet he did not attach himself to the studio of any of the prominent masters. . Already in his country home he had had a little instruction in painting, and preferred to study the masterpieces of the . Louvre. . At first his pictures were not sufficiently distinctive to arouse any opposition, and were admitted to the . Salon. . Then followed the . Funeral at . Ornans, which the critics violently assailed: “. A masquerade funeral, six metres long, in which there is more to laugh at than to weep over. ” . Indeed, the real offence of . Courbet’s pictures was that they represented live flesh and blood. . They depicted men and women as they really are and realistically doing the business in which they are engaged. . His figures were not men and women deprived of personality and idealised into a type, posed in positions that will decorate the canvas. . He advocated painting things as they are, and proclaimed that la vérité vraie must be the aim of the artist. . So at the . Universal . Exposition of 1855 he withdrew his pictures from the exhibition grounds and set them in a wooden booth, just outside the entrance. . Over the booth he posted a sign with large lettering. . It read, simply: “. Courbet – . Realist. ” . Like every revolutionary, he was an extremist. . He ignored the fact that to every artist the truth of nature appears under a different guise according to his way of seeing and experiencing. . Instead, he adhered to the notion that art is only a copying of nature and not a matter also of selection and arrangement. . In his contempt for prettiness . Courbet often chose subjects which may fairly be called ugly. . But that he also had a sense of beauty may be seen in his landscapes. . That sense, mingled with his capacity for deep emotion, appears in his marines – these last being his most impressive work. . Moreover, in all his works, whether attractive or not to the observer, he proved himself a powerful painter, painting in a broad, free manner, with a fine feeling for colour, and with a firmness of pigment that made all his representations very real and stirring.

189.00 Р.

Georges  Riad Courbet

Georges Riad Courbet

Бренд:

Ornans, . Courbet’s birthplace, is near the beautiful valley of the . Doubs . River, and it was here as a boy, and later as a man, that he absorbed the love of landscape. . He was by nature a revolutionary, a man born to oppose existing order and to assert his independence; he had that quality of bluster and brutality which makes the revolutionary count in art as well as in politics. . In both directions his spirit of revolt manifested itself. . He went to . Paris to study art, yet he did not attach himself to the studio of any of the prominent masters. . Already in his country home he had had a little instruction in painting, and preferred to study the masterpieces of the . Louvre. . At first his pictures were not sufficiently distinctive to arouse any opposition, and were admitted to the . Salon. . Then followed the . Funeral at . Ornans, which the critics violently assailed: “. A masquerade funeral, six metres long, in which there is more to laugh at than to weep over. ” . Indeed, the real offence of . Courbet’s pictures was that they represented live flesh and blood. . They depicted men and women as they really are and realistically doing the business in which they are engaged. . His figures were not men and women deprived of personality and idealised into a type, posed in positions that will decorate the canvas. . He advocated painting things as they are, and proclaimed that la vérité vraie must be the aim of the artist. . So at the . Universal . Exposition of 1855 he withdrew his pictures from the exhibition grounds and set them in a wooden booth, just outside the entrance. . Over the booth he posted a sign with large lettering. . It read, simply: “. Courbet – . Realist. ” . Like every revolutionary, he was an extremist. . He ignored the fact that to every artist the truth of nature appears under a different guise according to his way of seeing and experiencing. . Instead, he adhered to the notion that art is only a copying of nature and not a matter also of selection and arrangement. . In his contempt for prettiness . Courbet often chose subjects which may fairly be called ugly. . But that he also had a sense of beauty may be seen in his landscapes. . That sense, mingled with his capacity for deep emotion, appears in his marines – these last being his most impressive work. . Moreover, in all his works, whether attractive or not to the observer, he proved himself a powerful painter, painting in a broad, free manner, with a fine feeling for colour, and with a firmness of pigment that made all his representations very real and stirring.

95.00 Р.