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Eyck, Jan van: The Adoration of the Lamb |
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Гуашь "Классика", 12 цветов. A ew realism Ja va Eyck (1385-1441) was a co emporary of Campi a d o e of he e duri g i flue ces o his ce ury. He had a eye almos miraculously respo sive o every de ail or his world, o jus i ha he saw i , bu ha he u ders ood i s value. Va Eyck's a ural habi a was o e of lumi ous clari y; he saw he mos ordi ary hi gs wi h a wo derful sharp ess a d a grea se se of heir awesome beau y. We k ow li le abou him perso ally, bu he is he mos overwhelmi g of pai ers i he co vic io s he e ables us o share. Like he 17 h-ce ury Du ch pai er Vermeer, va Eyck akes us i o he ligh , a d makes us feel ha we, oo, belo g here. Va Eyck's me iculously de ailed Adora io of he Lamb is par of a huge al arpiece; pai ed o bo h si es, i is he larges a d mos complex al arpiece produced i he e herla ds i he 15 h ce ury. his mo ume al work s ill ha gs i i s origi al se i g, he Ca hedral of S Bavo i Ghe , drawi g he worshipper deeper a d deeper i o he sacred world i makes visible. here has bee much deba e over he par s he wo va Eyck bro hers, Ja a d Huber , played i he crea io of he Ghe Al arpiece: whe her Ja , abou whom we have he mos i forma io , was mos ly respo sible, or whe her i was Huber , abou whom we k ow almos o hi g. For wha i is wor h, Huber is give precede ce i he i scrip io . I reads: `` he pai er Hubrech Eyck, ha whom o e was grea er, bega his work, which his bro her Ja , who was seco d o him i ar , comple ed a he behes of Jodoc Vijd .'' A pa el shows he sacrificial Lamb o he high al ar, i s sacred blood pouri g i o a chalice. A gels surrou d he al ar, carryi g remi ders of he Crucifixio a d i he foregrou d gushes he Fou ai of Life. Comi g from he four cor ers of he ear h are he worshippers, a diverse collec io ha i cludes prophe s, mar yrs, popes, virgi s, pilgrims, k igh s, a d hermi s. I is likely, as wi h ma y grea religious works of he ime, ha va Eyck would have bee advised by a heologia , a d hese figures seem o represe he hierarchy of he Church. Se i a beau iful, lush la dscape, he holy ci y gleams o he horizo , i s ou li e very much ha of a Du ch ci y; he church o he righ is probably U rech Ca hedral. he very perfec io a d accuracy, he co vi ci g ess of he vas al arpiece explai why his mys ic visio has laid such a hold o he affec io s of hose who see i . he Ghe Al arpiece e velops he viewer i a mood of co empla io , bu a y more rigorous a alysis becomes a massive i ellec ual effor . We ca move more easily i o a smaller pai i g, such as his lo g, sle der A u cia io .
Literary inspiration in van Gogh. "Magazine of Art", dec. 1950. 166. Guasta11a P. Essai sur van Gogh. Pans, 1952. 167. Novotny F. Die Popularitat van Goghs. "Alte und Neue Kunst", n° 2, 1953. 168. Novotny F. Reflections on a Drawing by van Gogh. "The Art Bulletin", march 1953. 169. Gachet P. Van Gogh a Auvers - Histoire d'un tableau. Paris, 1953. 170. Gruyter W. J. de. Theo and Vincent van Gogh; Tralbaut M. E. Van Gogh's Japanisme; Leymarie J. Symbole et Realite chez van Gogh - Статьи о Ван Гоге - "Mededelingen", Gravenhage, nos 1-2, 1954. См. также № 269. 171. Tralbaut M. E. Vincent van Gogh in het Caf'conc'of het raakpunt met Raffaelli, Stedelijk Museum. Amsterdam, 1955. 172. Gogh V. W. van. Madame Roulin - "La Berceuse" - door Vincent van Gogh en Paul Gauguin. "Museumjournaal", oct. 1955. 173. Cooper D. Two Japanese Prints from Vincent van Gogh's Collection. "Burlington Magazine", june 1957. 174. Sabloniere M. de. Inleiding tot de Kunst van Gogh. Amsterdam, 1958. 174a. Gans L. Vincent van Gogh en de Schilders van de "Petit Boulevard". "Museum journaal", IV, 5-6 dec. 1958. 175. Ste11ingwerff J
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