Marián A. Alastruey
EL JARRÓN RUBENS (h. 400 d.C.)Este jarrón data aproximadamente del año 400 d.C. Procede de Constantinopla (actual Estambul, Turquía). Fue tallado a partir de una sola pieza de ágata, probablemente en un taller imperial para un emperador bizantino. El uso de piedras como el ágata permitía a los artistas jugar con la luz y el color sin necesidad de emplear pintura. Debe su nombre al pintor flamenco Pedro Pablo Rubens, que lo adquirió en 1619. Está recubierto de intrincadas texturas con racimos de uvas y hojas de parra, y a cada lado figura el rostro de Pan, dios de la naturaleza, la música y los pastores. El reborde de oro parece haberse añadido en Francia a principios del siglo XIX.El jarrón mide 18,6 cm. de alto; 18,5 cm. de ancho y 12 cm. de profundidad. Actualmente está en el Walters Art Museum, en Baltimore, EE.UU.Texto: Marián A. Alastruey
Aquí os dejo en el día de hoy, seguiría un montón de tiempo más, pero tengo los «deditos» de los pies heladitos, y el cuerpo está lastimado, así que me voy al brasero a calentarme un poco . Me gustaría pediros que cuando entréis en mi blog, hagáis clik en algunos anuncios, a vosotros no os cuesta nada, y a mi me ayudáis. Un gran abrazo para todos y gracias por visitar mi blog. hasta mañana y que tengáis felices sueños…!
Adorazione dei Magi – Adoration of the Magi (1423) «Tempera on wood, 300 x 282 cm, particolare» [Gallerie degli Uffizi, Florence] — Gentile da Fabriano (1370 – 1427)
At the end of a long journey, the Magi arrive before the newly born Messiah, guided by a star, and they kneel before the Holy Family, offering their precious gifts. The three wise men are dressed in extraordinarily rich, fashionable garments and are accompanied by a multi-ethnic procession that also includes exotic animals, to emphasise their coming from the Far East. The journey of the Magi, from the time that they see the star, to their pause at Herod’s palace and finally, their return home, is depicted in three separate episodes in the background of the work, brought together by the rocky backdrop on the horizon, but visually separated by the three arches of the frame. With its stunning frame decorated at the sides with painted flowers, this altarpiece is completed by a predella showing scenes of Christ’s childhood: from the left, the Nativity, the Flight into Egypt and the Presentation at the Temple. The section with the Presentation at the Temple is a modern copy of the original, which is at the Louvre Museum in Paris. The painting itself was commissioned by rich banker and refined art lover, Palla Strozzi, for the family chapel in the sacristy of the Church of Santa Trinita in Florence. The panel, which is signed by the artist, and dated 1423, is Gentile’s finest work and has been recognized the most important example of International Gothic painting in Italy. It shows extraordinary technical skills in the use of specific techniques, as can be seen in the large amounts of metal leaf, embossed partially to create a relief that adds a three-dimensional aspect to the items, such as the spurs on the horseman or the hilt of a sword. In the predella, in place of the gold background used in Mediaeval times, the scenes have blue skies, demonstrating an interest in nature and the beginning of those cultural and aesthetic canons that would flourish in the Renaissance.
The Immortals – The most known and most widespread form of Achaemenid (6th BC) «Sculpture is the bas-relief, representing all the characters in profile.These bas-reliefs are remarkable for their quality of execution, each detail is reflected with finesse» [Persepolis – Iran)
