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本人醉爱书法,痴迷炒股,也喜欢油画,更喜欢过一种真心主义、自我超越并富有张力的生活方式,我的博客主要关注书法和经济两个领域。

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【转载】神与色的长廊—7—Andrea Pozzo  

2015-02-07 11:43:07|  分类: 书法油画作品欣 |  标签: |举报 |字号 订阅

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本文转载自菩提醉的绘画艺术博客《神与色的长廊—7—Andrea Pozzo》
神与色的长廊—7—Andrea Pozzo - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 
神与色的长廊—7—Andrea Pozzo - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 
神与色的长廊—7—Andrea Pozzo - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 
神与色的长廊—7—Andrea Pozzo - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 
神与色的长廊—7—Andrea Pozzo - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 
神与色的长廊—7—Andrea Pozzo - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 

 
神与色的长廊—7—Andrea Pozzo - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 
神与色的长廊—7—Andrea Pozzo - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 
神与色的长廊—7—Andrea Pozzo - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 神与色的长廊—7—Andrea Pozzo - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 
神与色的长廊—7—Andrea Pozzo - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 
神与色的长廊—7—Andrea Pozzo - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 
神与色的长廊—7—Andrea Pozzo - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 
神与色的长廊—7—Andrea Pozzo - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 
神与色的长廊—7—Andrea Pozzo - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 
神与色的长廊—7—Andrea Pozzo - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 
神与色的长廊—7—Andrea Pozzo - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
 
神与色的长廊—7—Andrea Pozzo - 菩提醉的绘画艺术博客 - 菩提醉BODHIINTOXICATION
  Andrea Pozzo (Andreas Puteus; 30 November 1642,Trento, Italy - 31 August 1709, Vienna, Austria) was an Italian Jesuit Brother, Baroque painter and architect, decorator, stage designer, and art theoretician. He was best known for his grandiose frescoes using illusionistic technique called quadratura, in which architecture and fancy are intermixed. His masterpiece is the nave ceiling of the Church of Sant'Ignazio in Rome. Through his techniques, he has become one of the most remarkable figures of the Baroque period. Andrea Pozzo was an extraordinarily versatile artist, an architect, decorator, painter, art theoretician, one of the most significant figures of Baroque Gesamtkunst. He entered the Jesuit order at an early age, and his artistic activity is also related to the order's enormous artistic enterprises. His masterpiece, the decoration of Rome's Jesuit churches Il Gesu and Sant'Ignazio, determined for several generations the style of internal decoration of Late Baroque churches in almost all Europe. His fresco in Sant'Ignazio, with its perspective, space-enlarging illusory architecture and with the apparition of the heavenly assembly whirling above, offered an example which was copied in several Italian, Austrian and German churches of the Jesuit order. Pozzo even published his artistic ideas in a noted theoretical work entitled Perspectiva pictorum et architectorum (1693, 1698) illustrated with engravings. On the invitation of Emperor Leopold I, in 1704 be moved to Vienna, where he worked for the sovereign, the court, Prince Johann Adam von Liechtenstein, various religious orders and churches. Some of his tasks were of a decorative, occasional character (church and theatre scenery), and these were soon destroyed. His most significant surviving work in Vienna is the monumental ceiling fresco of Liechtenstein Palace. The Triumph of Hercules, which, according to the sources, was very admired by contemporaries. Some of his Viennese altarpieces have also survived (Vienna's Jesuit church. His compositions of altarpieces and illusory ceiling frescoes had many followers in Hungary, Bohemia, Moravia, and even in Poland.
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