The Jewish Film Festival will be held in Moscow from May 22 to May 30

From 22 to 30 May in Moscow will be held 4th Moscow Jewish Film Festival (MEKF), in the program which got more than 50 paintings.

«Every year, you can re-notice how inside seemingly narrow Jewish themes there are their own tendencies and pressing issues. This year, several outstanding paintings devoted to the problem of denial or silence of the memory of the Holocaust, there are works on sexual minorities and their rights in modern society. The actual theme of the interpretation of Jewish history by modern youth, – the program director of the festival Vanya Bowden. – Especially the joy in the program is caused by the experimental work of young filmmakers. As in previous years, it is important for me to create a program for the widest and most diverse audience“.

The Jewish Film Festival will be held in Moscow from May 22 to May 30

The film of the opening of the festival will be a historical drama “NegationMick Jackson from Rachel Weiss in the main role, and will close his picture Klaus Reifel “The Invisible”. The program also included “FoxtrotSamuel Maoz, «Menashe“, Documentary drama”Beitar Jerusalem. Forever Pure“, A cartoon about love”Vanity of vanities »by Alexey Turkus and Alexey Shelmanov and others. More information about the paintings can be found on link.

Within the framework of the festival, lectures, discussions and master classes will also be organized. The events will take place at the leading cultural venues of the capital: the in-house cinema of the Garage Museum of Contemporary Art, the Documentary Film Center, the Oktyabr movie center, the GUM cinema hall and the Jewish Museum and the Tolerance Center.

The 4th MEKF is supported by the Russian Jewish Congress and the Blavatnik Foundation Family Foundation. For three years of its existence the film festival has collected more than 12 thousand spectators and has held over 100 paintings. This year the best films of the last few years from more than 15 countries, including from the USA, Romania, Hungary, France, Israel, Great Britain, Ukraine, Russia will be presented to the professional jury and movie fans.

JJ Abrams is preparing a secret superhero project

JJ Abrams is preparing a secret superhero project

In the photo: JJ Abrams

It would seem that there is no shortage of superhero movies on the market. But JJ Abrams thinks differently and is going to reformat the genre.

The creator of “Star Trek” and “Awakening Force” undertakes to produce a superhero film called “The Heavy“(” Heavy “). And in the directors Abrams calls Julius Avery, with whom he is currently working on the Overlord project, reports The Hollywood Reporter.

The script was written by Daniel Casey. The plot, of course, is kept secret, and production is carried out in an atmosphere of the utmost secrecy, as always with the projects of JJ Abrams. All that is known is “The Heavy“Should become a new word in the superhero genre and, as they say, break the templates.

Julius Avery, who claimed to be a film “The Son of Arms” (Young Blood), is now finishing work on Overlord for Abrams Bad Robot, which takes place during the Second World War.

As for “The Heavy“, Its distribution was also taken over by the studio Paramount. The release is scheduled for October 25 this year.

10 facts about Joe Lynn Turner

August 2, 1951 was born American singer and songwriter, who performed with Fandango, Rainbow, Deep Purple, Yngwie Malmsteen’s Rising Force, Mother’s Army and HTP, and now participating in the project Over the Rainbow. On the birthday of Joe Lynn Turner, we have prepared for you a selection of interesting facts about him.

  • As a child, Joe played the accordion
  • While studying at the institute, Joe founded the band Erza, who performed covers on Hendrix, Free and Deep Purple, and also played their own material
  • The first serious and successful professional musical experience for Joe was the participation in the band Fandango, in which Turner sang and played the guitar. All four of the band’s albums were recorded with the participation of Joe
  • Fandango broke up and Joe took off even higher: after Ritchie Blackmore’s call and the follow-up listening to him, Turner was instantly included in the Rainbow, and it was thanks to Joe that the band gained wide recognition in the US, having previously been popular mostly in Europe and Japan
  • As part of Rainbow, Turner recorded three albums: Difficult to Cure, Straight Between the Eyes and Bent out of Shape
  • After the collapse of Rainbow, Joe released a solo album Rescue You, Most of the songs for which he wrote himself co-authored with Alom Wood (Foreigner)
  • In 1988, Turner began collaborating with Yngwie Malmsteen and his band, recording with them the album Odyssey and taking part in a tour in his support. A year later, however, Joe left the band and was invited by Richie Blackmore to Deep Purple to replace Ian Gillan
  • After releasing one album with Deep Purple and starting work on the next one, Turner was dismissed from the band. The reason for this was the strong creative disagreement between Turner and the rest of the group: Joe brought to the music and scenic behavior of Deep Purple too many quotes and borrowings from other musicians, depriving the group of identity. Despite the fact that the initiator of Turner’s arrival in Deep Purple was Richie Blackmore, it was he who first spoke about Joe’s dismissal
  • Leaving Deep Purple did not become the end of Turner’s career, and in subsequent years he managed to work fruitfully both on his own projects (Hughes Turner Project and a joint project with Bulgarian guitarist Nikolai Kotsev) and on a host of others, continuing his career to this day
  • In 2005, Joe was a guest musician for The Village Lanterne of Blackmore’s Night. He performed a bonus track written by him and Blackmore in the time of joint performances in Rainbow, under the name of Street of Dreams

10 facts about Joe Lynn Turner

Flowers in the work of the artist – watercolorist Kitipong Maksin

Flowers in the work of the artist - watercolorist Kitipong Maksin

Kitipong Maksin is a well-known interior designer and watercolor artist. Lives and works in Bangkok (Thailand). Has a higher artistic education. Graduated from the King Mongkut Institute of Technology Ladkrabang (Thailand). Participated in many international watercolor exhibitions.

Flowers in the work of the artist - watercolorist Kitipong Maksin

Flowers in the work of the artist - watercolorist Kitipong Maksin

Flowers in the work of the artist - watercolorist Kitipong Maksin

Flowers in the work of the artist - watercolorist Kitipong Maksin

Flowers in the work of the artist - watercolorist Kitipong Maksin

Flowers in the work of the artist - watercolorist Kitipong Maksin

Flowers in the work of the artist - watercolorist Kitipong Maksin

Flowers in the work of the artist - watercolorist Kitipong Maksin

Flowers in the work of the artist - watercolorist Kitipong Maksin

Flowers in the work of the artist - watercolorist Kitipong Maksin

Flowers in the work of the artist - watercolorist Kitipong Maksin

Flowers in the work of the artist - watercolorist Kitipong Maksin

Flowers in the work of the artist - watercolorist Kitipong Maksin

Flowers in the work of the artist - watercolorist Kitipong Maksin

Flowers in the work of the artist - watercolorist Kitipong Maksin

Flowers in the work of the artist - watercolorist Kitipong Maksin

Flowers in the work of the artist - watercolorist Kitipong Maksin

Oh, how wonderful the marvelous rose fragrance

And she captivates with her beauty …

How her petals are mysteriously burning

And the soul generously fills the soul …

The soul is full of her unfulfilled love,

She opened her love trustfully,

But her secret, marvelous, eternal counterpart,

So far. But she still loved him …

And she gives her light, the tenderness is full,

Although the way is spiked in its very soul,

Love forever with hope in love

And her way of the earth will not break anything …

Natalia Bairn

Flowers in the work of the artist - watercolorist Kitipong Maksin

Flowers in the work of the artist - watercolorist Kitipong Maksin

Based on the Internet

These strange images of doom. Kuzma Sergeevich Petrov-Vodkin

So strange, free and simple

I have identified the meaning of being,

And hidden in the seed "I",

And the secret of bloom and growth.

In the plant and in the stone – everywhere,

In the mountains, in the clouds, over the mountains

And in the beast, and in the blue star,

I hear a singing flame.

Maximilian Voloshin

K.S. Petrov-Vodkin. Self-portrait. 1926-1927

Girls on the Volga. 1915

Mother. 1913

Surroundings of Khvalynsk. Around 1909

Youth (Kiss). 1913

Mother. 1915

Bathing a red horse. 1912

Kozma Sergeevich Petrov-Vodkin (1878-1939) – one of the largest and most original Russian artists of the first decades of the XX century. In his art, the artistic tendencies were pulled together into a strong knot, it seemed, far from each other.

A girl in a red headscarf (Worker). 1925

A cafe. 1907

Spring etude in Shuvalov. 1927. Oil on canvas

Paris. Notre Dame. 1924

View of Samarkand. 1921

Coast. 1908

Bacchante. 1912

Sleeping baby

Samarkand. 1926

African boy. 1907

Shah-i-Zinda. Samarkand. 1921

Samarkand, 1920

His works provoked violent controversy, passionate clashes of often directly opposite opinions and assessments – from enthusiastic praise to contemptuous ridicule (including from the colossus like Repin). It was a complex personality and at the same time an integral one. An outstanding painter, an unsurpassed draftsman, an original theoretician, a born pedagogue, a talented writer, a prominent public figure. Man is multifaceted. The artist, the only one of a kind and typical son of his time, equally interested in writing both Russian icons and the leader of the revolution of Lenin.

Self-portrait. 1921

The murder of Cain Abel. 1910

Hurricane. 1914

1918 in Petrograd. 1920

Sketch of scenery for staging "The Diary of Satan" (according to L. Andreev). 1922

Anxiety. 1926

Trinity. 1915

Archangel Michael. 1916

Our Lady of Tenderness of Evil Hearts

The Mother of God with the Child

The head of a young man. 1910

The boy is an Uzbek. 1921

The head of a young man. 1918

Portrait of A.P. Petrova – Vodkin, the artist’s mother. 1909

Petrov-Vodkin sought to discover in man the manifestation of the eternal laws of the world order, to make a concrete image the personification of the connection of cosmic forces. Hence the monumental style, and the spherical perspective, that is, the perception of any fragment from the cosmic point of view, and the understanding of space as one of the main storytellers of the picture.

In Shuvalov. 1926

Spring. 1935

In the nursery. 1925

The girl by the window. 1928

Portrait of S. N. Andronikova. 1925

Portrait of Anna Akhmatova

Self-portrait. 1926-1927

But already in the last years of Petrov-Vodkin’s life, his art – due to not always organic and successful attempts to reconcile in it the long-established nature of painting with strict requirements imposed on it – did not find sufficient public recognition. After the death of the artist his name was crossed out of Soviet art. During the next quarter century Petrov-Vodkin seemed to forget, his paintings almost disappeared from museum expositions. Only once, in 1947 in St. Petersburg, was arranged a small exhibition of his drawings.

Stepan Razin. Sketch of a panel. 1918. Paper, watercolor

A sketch of the holy fool to the tragedy of A.S. Pushkin “Boris Godunov”. 1923. Paper, watercolor

Illustration for the “Sea Princess” by Mikhail Lermontov. Paper, mixed media

However, true art sooner or later receives recognition and takes its place in the Pantheon of National Culture. For Petrov-Vodkin this time was in the second half of the 1960s. In 1965, enthusiasts in Moscow arranged a modest exhibition of his works at the Central House of Writers. A year later the Russian Museum in St. Petersburg, possessing the largest collection of paintings and drawings by the master, organized a retrospective exhibition, which had a huge success and showed the true scale of his art. Petrov-Vodkin immediately took his place in the first row of Russian artists of the XX century. The monograph V.I. Kostin first gave a reliable overview and analysis of his art. Creativity of Petrov-Vodkin and his individual works became the object of close study. Finally, in 1970, a new edition of his autobiographical novels.

Fantasy. 1925

Noon. Summer. 1917

Mikula Selyaninovich. Paper, watercolor

Flowers. 1926. Paper, watercolor, pencil

Now no one seems to have any doubt that in the person of Petrov-Vodkin, Russian art had a master of a huge scale, deeply original and original, an artist-philosopher who aspired to understand and translate in his art the person, the object, the phenomenon, the Universe in all their complexity and depth. It is these rare people, by the very nature of their talents, who advance the artistic knowledge of the world more than others.

I like a tired rustle

Old letters, distant words …

They have a smell, they have a charm

Dying flowers.

I love the patterned handwriting –

It has a rustle of herbs dry.

Fast letters familiar sketch

Quietly whispers a sad verse.

I’m so close to charm

Their tired beauty …

This is the tree of Knowledge

Flying flowers.

Maximilian Voloshin

A bird cherry in a glass. 1932

Still life with letters. 1925

Still life. Fruit. 1934

Still-lifes Petrov-Vodkin occasionally wrote in his younger years, but only in 1918-1920 they became the central theme of his work. Thus, this genre came into his art much later than many of his peers possessed him. In the late 1900s and first half of the 1910s, N.N. Sapunov, P.V. Kuznetsov, M.S. Saryan, N.S. Goncharova, M.F. Larionov, I.I. Mashkov, P.P. Konchalovsky and some other artists brought a Russian still life to the unprecedented flourishing in Russian art. In their painting there appeared the most diverse solutions to the problem "dead nature". And yet, turning to the still-lifes of Petrov-Vodkin, we see that a completely unique structure of artistic thinking and worldview gave this genre in his art traits that are dissimilar to the works of the above-mentioned masters.

Still life. A candle and a decanter. 1918

Apples on a red fabric. 1917

Still life with a mirror. 1919

In art history literature, it has already been said more than once that the term "still life" failed, does not reflect the essence of the genre, which is more appropriate "Stilleben", "Still Life" – "quiet, or quiet life" (in German and English). But this definition does not give an idea of ​​the intense nature of the still-lifes of Petrov-Vodkin, in which the whole area of ​​the canvas is at times permeated with power lines "spherical perspective". Still-lifes of Petrov-Vodkin I would like to name "dead nature" (they are too alive for this) and not "peaceful life" (they are too restless), but rather, descriptively – "subject compositions". However, the cumbersomeness of such a definition forces us to return to the term inaccurate, but habitual.

Still life with a blue ashtray. 1920

Still-lifes of Petrov-Vodkin are unpretentious in the collection of objects and carry the signs of the harsh era in which they are created. In this sense, the still life with the image of a lean herring, a piece of bread and two potatoes – a meager ration of hungry time – became classic."Herring", 1918, the State Russian Museum).

Herring. 1918

Fruit on a blue tablecloth. 1921

The artist likes to introduce in them mirrors, glass or just some shiny objects (samovar, nickel-plated kettle), allowing him to surrender to the analysis of the complex play of reflexes, the refractions of the beams of light incident and reflected in the inner faces. In these studies in the spirit of Vrubel, Petrov-Vodkin replaces the passion of his brilliant predecessor with a methodical-persistent desire to cognize the subject in all its aspects. Deployed and arranged on the table of things the artist examines from above, so that their location lends itself to precise fixation and they are visible "in full view"; The polished edges of the kettle or the glass-covered table surface double the image, allowing you to look at it with the invisible side artist. Thus, Petrov-Vodkin overcomes the monocular point of view, which seems insufficient to him and does not reflect the true knowledge of an object that can be circumvented, resulting in a total and more complete picture of it.

Still life with a prism, 1920

In some still lifes Petrov-Vodkin introduces the image of his own drawings and watercolors, reinterpreting them according to the spirit of the canvas (as Matisse did before), or a palette – in a word, a kind of art attribute that dipped the viewer into the atmosphere of the artist’s studio. The violin, leaning against the window, behind which the landscape of innumerable Petersburg roofs and narrow courtyards, swaying on the spatial axes, is aesthetically aesthetically aesthetized by this elegant world and, in turn, receives from it a pinching-minor coloration"Violin", 1918, the State Russian Museum). The picture – for it is more a picture than just a still-life – is permeated with a single intense feeling, proceeding in equal measure from the image of the violin and the landscape behind the window bound.

Violin. 1918

Violin. 1916

Violin. 1921

I love the house, where things are not property,

Where things are easier than boats on the dock.

And I do not like things without advantages

Magic communication with things.

No, not in you, hearth, your power:

Although all the wood, just like the mouth with words,

Fuck – I’m not going to get burned yet,

Do not be a fire mediator between us.

They will say to me: give up dreams, draw reality;

Write as it is: a boot, a horseshoe, a pear …

But there is also a reality, visibility,

And I’m looking for a soul under the semblance.

And I repeat everywhere and everywhere:

Not salt in salt.

The nail is also not in the nail.

Novella Matveeva

“Archaeological research” in the thickness of the heritage left by Konstantin S. Petrov-Vodkin, can sometimes reward the find of the pleasant gravity of pure nuggets. Here is, for example, undoubted corundum, as an expressive “Still Life with a Samovar” (1932), finally found its place in the storerooms of the Faceted Chamber of Petrov-Vodkin creativity.

Still life with a samovar. 1932

“Still life with a samovar” (the name is conditional – VB) appeared recently in one of the Moscow collections. Employees of the KS Art and Memorial Museum. Petrova-Vodkin (a branch of the Radischevsky Museum), those who work day after day with the creative heritage of the master, almost without a doubt recognize the authenticity of this still life.

(The news of the Radishchev Museum: http://radmuseumart.ru/projects/169/637/.) The article of the Director of the Khvalyn Art-Memorial Museum of KS Petrov-Vodkin, VI Borodina.)

Another previously unknown picture of KS. Petrova-Vodkin appeared on the art market, and aroused genuine interest in art criticism circles. Currently, the picture is in a private collection in the Crimea.

Bouquet on the terrace. 1913.

This bouquet of wildflowers in the painting from the collection of Academician Kashtayants (the famous biologist, who directed the launch of the squirrel in the squirrel and the arrow) was written by K.S. Petrov-Vodkin at the Zvantsev Manor in the Tartalei of Nizhny Novgorod Province, where the artist lived from the middle of June to the end of July 1913. There he worked with the director of the Nezlobin Theater Nikolay Zvantsev over the scenery for the play on the tragedy of Schiller “The Maid of Orleans”. In a letter from Tartal, dated June 15, 1913, he described the house of Zvantsev: “The house stands on a mountain, from where two very small lakes are seen, and the trees and fields are far away. There is a park and a small forest, now a season of strawberries, and we eat it every day. ” (1)

A careful look at the work does not hide the fact that the house on the terrace of which is a bouquet is on a hill, at the bottom left is a green of trees growing under the mountain on which the house stands, in the distance – a hilly open country, and next to the terrace, close to the house, trees are also growing. In a letter of June 30-July 1, 1913, he informed his wife: “Now is the day of awakening. The morning wind makes the leaves of trees tremble under my windows … “. (2)

In the same letter, June 30 – July 1, by the way, there are lines like this: “Before my eyes, the horizon disappears in the twilight twilight, dressing up in pink and blue colors …”. (3) Although the picture is probably depicted in the morning, the “pink horizon” can also be seen. In a letter dated June 26, 1913, there is a mention of the clover: “I send a four-leaf (the clover is called VB), which I found today for you and for myself”, (4) – that is, the clover in the bouquet is not accidental, a bouquet of chamomile and clover, he could collect, when he went with Zvantsev for strawberries. He generally preferred field flowers to garden plants. In his still lifes quite often there are bouquets of wild flowers: “Morning still life” (1918), “Still life with a samovar” (1920) and “Still life. Flowers and a woman’s head “(1921).

(News of the Radishchev Museum: http://radmuseumart.ru/projects/169/620/.) The article of the director of the Khvalyn Art-Memorial Museum of KS Petrov-Vodkin, VI Borodina.)

Still life. Flowers and a female head. 1921

Still life with a samovar. 1920

Morning still life. 1918

The most striking thing about all the still-lifes of Petrov-Vodkin is that a careful, sometimes scrupulous analysis of objects and a strict, almost experimental composition of the canvas do not in any way deprive them of the immediacy of the artistic perception of nature, not to mention the richness and subtlety of color. "Morning still life" really breathes the freshness of the dew-washed morning with the transparency of his air, the purity of color and the clear graphicity of the faces of the form. "Pink Still Life" (1918, the State Tretyakov Gallery) is permeated with light, dousing the apple tree branch, scattered fruits and a glass on the table. The special clarity of the image, in which the objects are named in turn and do not obscure each other, gives rise to an almost physical sense of joy from the contemplation of these still lifes, such as simple and such, in essence, difficult, as far from simple and unequivocal all the art of Petrova -Vodkin’s.

Pink still life. 1918

Since that time, still lifes do not leave his practice, although in the future they do not occupy such a place in it as in 1918-1920. The most significant, as before, is created by him in the compositional easel painting expressing his deepest and most intimate thoughts about the essence of events and life in the broad sense of this concept.

Do you explain to me – from where?

These strange images doom?

Distract my will from the miracle,

Forget about the inaction of the mind.

I’m afraid that the moment will come,

And, not knowing the way to words,

The thought that arose in the throes of creation,

Tear my breasts in half.

By practicing art in the world,

Delighted with blind minds,

Like small stupid children,

We are having fun over the abyss we are.

But only the turn comes,

Burned wings of withering,

The moth at the candle dies,

To forever burned candle!

Nikolay Zabolotsky

A girl in a sarafan. 1928

Mother and child. 1927

First steps. 1925

Flemish landscape painter Herrie Met de Bles (Herri met de Bles, ca. 1510-1550, Dutch)

Flemish landscape painter Herrie Met de Bles (Herri met de Bles, ca. 1510-1550, Dutch)

Herri met de Bles (Netherlands, Herri met de Bles, 1500/1510, Bouvigne-sur-Meuse – circa 1555) is a Flemish painter, along with Joachim Patinir, one of the founders of European landscape painting.

Landscape with the Apostles on the road to Emmaus

(Landscape with the apostles on their way to Emmaus)

24.1 x 33 d., M.

Los Angeles, LACMA

Landscape with a Good Samaritan

(Landscape with the good Samaritan)

1530-1550 d., M.

Vienna, Museum of Art History

Landscape with the sacrifice of Abraham

(Landscape with the Offering of Isaac)

1535-1545 86 x 56.2 in., M.

Cincinnati, The Art Museum

Almost nothing is known about the life of the artist. In particular, his name is unknown. The nickname “meth de Bles” – “with a white spot” – he probably received a white curl in his hair. He also wore the Italian nickname “Civetta” (Italian Civetta) – “owl” – because his monogram, which he used as a signature to his paintings, was a small figure of an owl.

Landscape with the sacrifice of Abraham (fragment)

(Landscape with the Offering of Isaac)

1535-1545 86 x 56.2 in., M.

Cincinnati, The Art Museum

Landscape with the expulsion of Hagar

(Landscape with the banishment of Hagar)

1526-1550 23.5 x 35.5 d., M.

Maastricht, the Main Art Museum

Carrying the Cross

(The Road to Calvary)

ok 1550 57 x 72 d., m.

St. Gallen, Kunstmuseum

Landscape with a flight to Egypt

(Landscape with Flight into Egypt)

33 x 59.7 d., M.

St. Petersburg, the Hermitage

He spent most of his career in Antwerp. It is assumed that he was the nephew of Joachim Patinir, and the real name of the artist was Herrie de Patinir (Herry de Patinir). In any case, in 1535, a certain Herrie de Patinir joined the Antwerp guild of St. Luke.

Landscape with St. Christopher

(Landscape with St. Christopher)

30 x 43 d., M.

Rotterdam, Boymans van Beuningen Museum

Landscape with an attack of bandits

(Landscape with bandits attack)

1551-1575 53.5 x 83.5 in., M.

Liège, Bank of Artesia

Landscape with travelers to Emmaus

(Landscape with travellers to Emmaus)

1526-1550 13. 9 x 18.2 in., M.

Liège, Museum of Art History

Extensive rocky landscape with a flight to Egypt

(An Extensive Rocky Landscape With The Flight Into Egypt)

44 x 74.3) e., M.

Private collection

Herrimet de Bles wrote mostly landscapes based on Patinir’s pattern, which also depicts multi-figured compositions. In landscapes the atmosphere is carefully conveyed. Typical for him, as for Patinir, a stylized image of the rocks.

Landscape with the Parable of the Good Samaritan

(Landscape with the parable of the good Samaritan)

1526-1550 33.3 х 46.7 d., M.

Private collection

Landscape with Lot, his daughters and burning Sodom

(Landscape with Lot, his daughters and the burning Sodom)

44 x 71 d., M.

Brunswick, Boudeen College

Landscape with St. Jerome

(Landscape with Saint Jerome)

1526-1550 75.7 x 105.8 d., M.

Namur, Museum of Old Art

Landscape with burning Sodom

(Landscape with the burning Sodom)

1526-1550 21.5 x33.7 d., M.

Namur, Museum of Old Art

Carrying the Cross

(The way to Calvary)

1541-1560 56.2 x 82.5 d., M.

Paris, De Jonckheere Art Gallery

Herrimet de Bles is also ranked among a group of South Dutch artists – followers of Hieronymus Bosch, along with Jan Mundine, Jan Wellens de Coke and Peter Geis. These masters continued the tradition of Bosch’s fantastic painting, and their work is sometimes called “northern Mannerism” (in contrast to the Mannerism of Italian). According to one information, the artist died in Antwerp, on the other – in Ferrara, at the court of the Duke of Este. Neither the year of his death nor the fact whether he ever visited Italy is unknown.

Landscape with the sermon of St. John the Baptist

(Landscape with Saint John the Baptist Preaching)

ok 1550 53 x 102 d., m.

Barcelona, ​​National Art Museum of Catalonia

atr. Herri met de Bles

Ascent of Elijah to the sky in a chariot of fire

(Elijah Ascending To Heaven In The Fiery Chariot)

18.4 x 29.2 in., M.

Private collection

Hell (Hell)

board oil

Venice, the Doge’s Double

Carrying the Cross

(The Road to Calvary)

ok 1550 57 x 72 d., m.

St. Gallen, Kunstmuseum

A circle.

The Tower of Babel

(Tower of Babel)

31 x 43.5 d., M.

Private collection

Landscape with the feast of Herod and the dream of Joseph

(A mountainous landscape with the Feast of Herod and the Dream of Joseph)

27.2 x 36.4 in., M.

Private collection

Landscape with the Apostles on the road to Emmaus

(Landscape with the apostles on their way to Emmaus)

1535-1540 23 x 35 d., M.

Vienna, Museum of Art History

Landscape (Landscape)

1515-1550 57 x 84_d., M.

Liège, Museum of Art History

Landscape with the Parable of the Good Samaritan

(Landscape with the parable of the good Samaritan)

1526-1550 29 x 43 d., M.

Naples, museum and gallery of Capodimonte

Landscape with St. Jerome

(Landscape with Saint Jerome)

27.6 x 36.9 d., M.

Private collection

The Storm with the Prophet Jonah’s Sacrifice

(Storm with the sacrifice of Jonah)

1526-1550 29.5 x 43_d., M.

Naples, museum and gallery of Capodimonte

Miraculous multiplication of bread and fish

(The miracle of the multiplication of loaves and fishes)

1526-1550 96.5 x 137 d., M.

Namur, Museum of Old Art

Landscape with the Apostles on the road to Emmaus

(Landscape with the apostles on their way to Emmaus)

32 x 50.6 d., M.

Private collection

Landscape with the sermon of John the Baptist

(Landscape with the preaching of John the Baptist)

86 х 120,5 d., M.

Brussels, Royal Museum of Fine Arts

Conversion of Saul

(Sauls Conversion)

1526-1550 111 x 142 d., M.

Namur, Museum of Old Art

Isaac, blessing Jacob

(Isaac blessing Jacob)

1526-1550 81.5 x 111 d., M.

Innsbruck, Ferdinandeum Museum

Flemish landscape painter Herrie Met de Bles (Herri met de Bles, ca. 1510-1550, Dutch)

Landscape with the sermon of St. John the Baptist

(Landscape with Saint John the Baptist Preaching)

1535-1540 29 x 39 d., M.

Vienna, Museum of Art History

Landscape with the sermon of John the Baptist

(Landscape with the preaching of John the Baptist)

1541-1560 27 x 37 in., M.

Paris, De Jonckheere Art Gallery

Carrying the Cross

(The way to Calvary)

58 x 79 d., M.

Brussels, Private collection

Landscape with travelers to Emmaus

(Landscape with travellers to Emmaus)

1526-1550 21 x 33 d., M.

Los Angeles, Fisher Gallery

Carrying the Cross

(The way to Calvary)

1541-1560 56.2 x 82.5 d., M.

Paris, De Jonckheere Art Gallery

Landscape with the Parable of the Good Samaritan

(Landscape with the parable of the good Samaritan)

1511 84 x 113.4 d., M.

Namur, Museum of Old Art

Landscape with burning Sodom

(Landscape with the burning Sodom)

1526-1550 21.5 x33.7 d., M.

Namur, Museum of Old Art

Flemish landscape painter Herrie Met de Bles (Herri met de Bles, ca. 1510-1550, Dutch)

Landscape with the Parable of the Good Samaritan

(Landscape with the parable of the good Samaritan)

1526-1550 34.5 x 50 d., M.

Naples, museum and gallery of Capodimonte

Flemish landscape painter Herrie Met de Bles (Herri met de Bles, ca. 1510-1550, Dutch)

Circle of Herrie Met de Bles

John the Evangelist on the island of Patmos

(John the Evangelist on Patmos)

1535-50 33 x 47 d., M.

Antwerp, Royal Museum of Fine Arts

Circle of Herrie Met de Bles

John the Evangelist on the island of Patmos (fragment)

(John the Evangelist on Patmos)

1535-50 33 x 47 d., M.

Antwerpen, Royal Museum of Fine Arts

Carrying the Cross (fragment)

(The way to Calvary)

31.7 x 43.2 in., M.

Private collection

Circle of Herrie Met de Bles

Landscape with Prokna and Filomela

(Landscape with Prochnau and Philomelos)

29 x 43 d., M.

Antwerp, Royal Museum of Fine Arts

Penitent Mary Magdalene in the cave of La Sainte-Bom

(The Penitent Mary Magdalen in a cave of La Sainte-Baume)

22.5 x 29 days, m.

Private collection

Hell (Hell)

1540’s in the village, m.

Vienna, Museum of Art History

Paradise

(Paradise)

1541-1550 46.6 х 45.5_d., M.

Amsterdam, Rijksmuseum

Tags: Herri Met de Bles Herri met de Bles landscapes painting old masters artist art

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5 major albums of April

5 major albums of April

Release Type: Album / 380

The group of Jared Leto has long reached the heights of popularity, when nothing can shake her. The good news is that at concerts, it will always be positive. The bad news: the quality of the studio work is affected exactly with the reverse familiar.

No, none of the musicians forgot how to play and none of the technicians forgot how to write them down. The problem is that America’s new album sounds so predictable and standard that it seems like the band really got us back in 2007. But in the worst sense. Songs fans will still be stolen by radiohits and sales leaders on iTunes and Google Play, but music lovers and ordinary fans of rock Zero have nothing to catch on the album. All this has already been on previous albums.

5/10 Grigory Knyazev

Alexandra Dovgan: “All who have passed are already winners”

Alexandra Dovgan: "All who have passed are already winners"

Alexandra Dovgan

Alexandra Dovgan, the youngest Grand Piano participant Competition, an impressive support group.

About what the atmosphere reigns behind the scenes, and what pianist’s favorite subjects in school, she shared in her interview.

– Sasha, you participate in various competitions every year. What do you think they need a musician for?

– I think that the jury will hear and appreciate you. This is a good experience. Still, of course, it’s always nice to get a prize to mark your performance.

Thank you, the announcement is hidden.
Thank you, the announcement is hidden.

– Mendelssohn’s concert brought you victory on the Nutcracker, which is why you decided to perform it in the final Grand Piano Competition?

“Not really.” I just really like this concert. He’s one of my favorites.

– Now you compete with fourteen young pianists. Tell us, what atmosphere reigns in communication between the contestants? Did you manage to make friends with someone?

– I already knew Eva Gevorgyan, I know Seryozha Davydchenko, Valentina Malinina. At this competition a very friendly atmosphere, because all who passed – already the winners.

– You are currently studying at the Central Music School. How does such a large number of competitions and tours affect your studies?

– I did not go to school a month before the contest, I had to do a lot. Before that, everything was in time: to go to the specialty, and to other lessons.

– Do you have any favorite subjects not related to music in school?

– I like German, math and physical education from general subjects.

– Is support for the contest important to you?

– Yes, my parents, the teacher, my younger brother and the whole class of Mira Alexeevna support me. All her students are sick for me, and for Valentina Malinina. We have a very friendly class, we support each other at every contest, we come to auditions.

– This is a wonderful tradition! We wish you good luck!

– Thank you.

Alexandra Dovgan was born in 2007, from the age of 5 she is studying piano, a student of the Central Music School of the Moscow Conservatory (Mira Marchenko class).

The winner of the online competition Villahermosa (Mexico, 2014), the IX Urals International Prokofiev Competition (Yekaterinburg, 2015), the XI International Junior Safonov Competition (Pyatigorsk, 2015), the 1st All-Russian Internet Competition “Musical Talents” (Moscow, 2015), XIII International Competition of Young Musicians in the nomination “Piano” (Moscow, 2016), the XVIII International television contest “The Nutcracker” (Moscow, 2017). Laureate of the II Prize of the Moscow International Pianists Contest Vladimir Krainev (Moscow, 2017), IV International Competition Astana Piano Passion (2017). The owner of a special prize from Yamaha.

He participates in international festivals, tours in Russia and abroad. Scholarship holder Vladimir Spivakov, Mstislav Rostropovich, the fund “New Names”.

ClassicalMusicNews.Ru is leading a text broadcast devoted to Grand piano competition.

Interviewed by Natalya Poddubnyak

Sanzharali Kopbaev: “I have almost no free time”

Sanzharali Kopbaev: "I have almost no free time"

Sanjarali Kopbaev

Young participant Grand Piano Competition, who arrived from Kazakhstan, Sanzharali Kopbaev learned all the works of his program specifically for the contest.

What kind of enthusiasm with the artistic director of the competition besides Sanzharali’s music is, the contestant told immediately after his rehearsal at the Concert Hall of the Tchaikovsky Estate.

– Tell me, how was the training? For the program, did you take the works from the old repertoire or did you learn something specifically for the contest?

– I’ve been preparing for this contest since the summer. This is a completely new program for me, I chose all the compositions myself. When I learned, I started playing at concerts at my school in Kazakhstan.

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Thank you, the announcement is hidden.

– And what was given to you when preparing is more difficult – technical perfection or transfer of the image?

– Perhaps, the transfer of the image. It seems to me that this is the most difficult.

– At the competition, the participants have the opportunity to choose a grand piano on which the program will be performed. Which one did you choose?

– I chose Steinway. It was easy to do – I believe that the pianos of this company are the best. I really like their sound, especially the crystal upper case.

– Tell me, what is your routine? Time to relax is found?

– I have almost no free time. In the morning lessons, in the afternoon study, in the evening again to be engaged. I like to communicate and walk with friends, but, unfortunately, it turns out not to do so often.

– A well-known fact that Denis Leonidovich Matsuev loves football. Are you fond of any sport?

– I also love and watch football, and play it myself. Soon there will be a championship in our school, I think I will take part in it.

***

Sanjarali Kopbaev was born in 2003, studying in the Republican Kazakh secondary specialized school named after Ahmet Zhubanov for gifted children (class Gulzhan Kazybekova).

Participant of the XVII International television contest “The Nutcracker” (2016). Laureate of international competitions Astana Piano Passion (2013, II Prize, 2014, I Prize), Merсi, Maestro (2016, Brussels, I Prize), Republican competition in Almaty (2017, Grand Prix). Semi-finalist and winner of the “Nadezhda Prize” at the 10th Tchaikovsky International Youth Competition (2017).

Repeatedly participated in international festivals, headed by Denis Matsuev, in Moscow, Voronezh, Irkutsk.

In September 2016, a solo concert of Kopbaev was held in Mumbai (India), organized by Professor Birmingham Conservatory, founder of the Symphony Orchestra of India, Honored Artist of Kazakhstan Marat Bisengaliev.

ClassicalMusicNews.Ru is leading a text broadcast devoted to Grand piano competition.

Interviewed by Natalya Poddubnyak

Clouds, oranges, fountains

Clouds, oranges, fountains

Pablo Ferrandes and Thomas Sondergaard ,. Photo – Alexander Kurov / Center for Opera Singing G. Vishnevskaya

The 9th International Festival of Mstislav Rostropovich traditionally opened on the birthday of the maestro – March 27, 2018.

The program consisted of five notable concerts and the presentation of the film “Invincible Bow” attached to them.

Among the valley is flat

Rostropovich Festival is included in a few of those that originated in Russia in more “full” for the culture of the times. Then, even the enthusiastic organizers and sponsors, their programs were completely attractive.

Take at least the Moscow Easter or the “Cherry Forest”. Great artists came, big projects were being prepared, sensation behind the sensation – PR people did not have time to accredit journalists.

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Thank you, the announcement is hidden.

And what? There remains, perhaps, the only one that staunchly preserves its brand. At least because only Olga Rostropovich can afford to bring whole orchestras to Moscow. (Over the years, it was performed by 32 orchestras, 93 soloists, 12 choirs and 33 conductors.)

Another striking feature: all the guest performers try as if Rostropovich himself invited them, as many even performed with him. And nothing overshadows the mood with which they enter the stage, decorated with a portrait of a man who taught the world lessons not only of daily painstaking service to art, but also of the highest civic courage.

The program looked, as always, impressively.

Clouds, oranges, fountains

Prokofiev mystical

The Berlin Radio Symphony Orchestra. The soloist is Pablo Ferrandes. BZK.

Opening the festival was possible in all respects. The first concert was entirely given to Prokofiev (in March, 65 years from the day of his death).

“Dad bowed before him. And for a long time he was the only performer of his Symphony-concert, on the notes of which Prokofiev wrote: “In memory of the joint works on the Concerto,

– says Olga.

… Try to explain to a non-musician what the mystical concept of “sound” means (the sound image of a high-profile orchestra, recognizable by ear, although this, of course, is half the myth). And yet the notion arose not in vain, which was immediately confirmed by the Berliners, starting the suite from the opera “Love for Three Oranges”.

From the very first bars the orchestra sounded, as if not in the Great Hall of the Moscow Conservatory, but as if it brought with it the air and acoustics of some other hall!

In six symphonic pictures, presented not only masterfully, but also witty and simply sharp (conducted by Thomas Sondergaard, Denmark), violent artistic fantasy and sound ingenuity of Prokofiev played with dull colors.

The symphony-concert, the composition is not the most popular, the Spanish soloist Pablo Ferrandes, the pupil of Natalia Shakhovskoy (that is the musical “grandson” of Rostropovich) warmed up her playing.

Lucky 26-year-old cellist with his own handwriting, while his manner is extremely non-aggressive. The second part was even better than the others – not only the soloist, but also the orchestra. Agree, there is always the aftertaste of the other world, when, without looking at the scene, you stop distinguishing the brass from the strings. This flute came on piano or violin? ..

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Thank you, the announcement is hidden.

A light madness disappears when a solo violon violates an ensemble charm, breaks out of the thick of the orchestra and draws its path with a willful chisel.

It’s funny, but it was in the second part of the hall that Prokofiev’s spirit was hoarse: the second amphitheater (blue light) was suddenly turning and the side lights above the stage (yellow). Portraits of composers were chaotically displayed. Maybe this is an original lighting design, a gift of the conservatory to the festival?

However, the mischief of the astral forces ceased as unexpectedly as it began. Only in the third part of Prokofiev vulgar theme is very actual jabbered over the part of the stalls, which so stubbornly clapped between the parts.

Encore the cellist added a quiet solo – “Song of the birds” Casals, holding the bow on the last note for as long as you could inspire the audience that the sound is still audible. So the musician paid tribute to the victims of the fire that happened on the eve of Kemerovo.

Colorful evening ended with the Seventh, the last, Symphony Prokofiev. Well, I was once again convinced that, apparently, the luxurious “Soviet” theme, which the author had saved for a long time, sounds even better than Kabalevsky, but worse than Dunayevsky. In the last two parts, the orchestra, apparently disappointed by the fact that in the breaks some hysterics continue to clap enthusiastically, a little sour.

By the way, since September 2017 the orchestra was headed by Vladimir Yurovsky. This musicians will not sour under any circumstances. And, perhaps, the next meeting with the Berliners in Moscow is not far off, with an even rarer program.

A sample of bourgeois elegance

Chamber orchestra “Vienna – Berlin”. The soloist is Rudolf Buchbinder. BZK.

“Elegant”, in the words of Olga Rostropovich, a concert of soloists of the Philharmonic Orchestras of Vienna and Berlin could be recommended primarily to students of music colleges.

In Haydn and Mozart, a degree of teamwork was demonstrated that it was even thought: it was because of the absence of this that the chamber compositions began to go out of fashion, starting the trio and finishing with compositions of 13-18 people (like that).

The concert turned out to be not only “elegant”, but, I would say, typically bourgeois: everything is very diligent and decent. The mosquito does not undermine the nose – but why is it so offensive for the “Little Night Serenade”?

Concert № 9 performed by Buchbinder (just from an airplane), appreciated for pure Viennese style, sounded even over-academic – the result of excessive concentration due to lack of rehearsal. In general, Mozart, who does not cease to watch us, this evening, invisibly slipped somewhere along the side foyer and disappeared without a trace.

Better was the case with the D-Day Haydn Concerto, a hit of all time and people, which revived the hall with healthy playfulness, which Buchbinder did not stint on a little.

Listening to the last issue – Mozart’s Symphony No. 29, I drew the notebook page into two incongruous parts. Left wrote “transparent composition with increased responsibility”, on the right – “background music for dinner parties”. Also began to put crosses.

The left half, still six crosses outweighed: the ensemble slashed a slender piano and especially pianissimo – true, on the verge of narcissism. And the buzzing of the divine spindle in the final Allegro con spirito led to true delight.

Scriabin drooping

Russian National Orchestra. The soloist is Mikhail Pletnev. BZK.

In the right to be considered as the standard interpreters of Russian symphonic music, RNO Pletneva and Fedorenko’s BSO compete with us. With one condition: when such programs are conducted by Mikhail Vasilyevich and Vladimir Ivanovich themselves.

The unique property of the RNO mimicry under the conductor, listening to every impulse of his psychic energy, was clearly manifested in the Russian program of the festival. Faced by a remote Italian Pierre Carlo Orizio, a musician, inwardly little artistic, was rude in both “Tchaikovsky’s Romeo and Juliet” and Rimsky-Korsakov’s Scheherazade.

Every now and then it seemed that the RNO had been replaced by the Orchestra of the Defense Ministry in an expanded format and with distraught plates – forte sometimes rattled unacceptably. Solo fragments of the coryphaeus were actually hammered and swept away; the violin of Alexei Bruni in “Scheherazade” rather whistled than sang.

Scriabin’s Concert was not asked. In 2015, his performance at the Big RNO festival was a tremendous, unforgettable event. This time they announced that the composition would be heard in the editorial office of Pletnev himself (the finer points could be more appreciated by Andrei Korobeinikov or Galina Chistyakova).

Either Mikhail Vasilyevich hone his editorial staff, or the conductor who wastefully devoured the best skills of the RNO, or Pletnev simply “did not go on foot,” was not nice to him, but Skryabin sounded openly formal.

Hands with great accuracy lay on the keyboard, watching – it’s a pleasure. But there was almost nothing to listen to. As in the January Rachmaninov program, the genius pianist seemed to forget about us sinners who are looking for his consolation and the hidden meaning of music.

But still he gained a great success and played an encore for the mournful “Gray Clouds” of the late Liszt as a precursor to Scriabin. It was the best concert number: at least the person said directly what he wanted.

Clouds, oranges, fountains

Fountains and pines

Ottorino Respighi, “Roman trilogy”: “Roman festivals”, “Fountains of Rome”, “Pinnias of Rome”. The State Kremlin Palace.

The Grand Symphony Orchestra (Fedoseevsky) sat on the stage behind a transparent curtain; monstrous barn sounding killed both the sound of the BSO as a whole, and the entire sound of Respighi in particular.

The promised 3D image resulted in computer tricks with the participation of the company of athletic mimes, in the measure of their modest abilities personifying Fire and Water and representing the revived Roman statues.

Eventually, the pines also revived: they resolutely marched along the Appian Way, as if in the cartoon “In the Country of Unlearned Lessons” about the sergeant Vita Perestukine – under the marvelous solemn finale of the “Pinnacles of Rome”.

Multimedia presentation of the director Carlos Padrissa inherited from the Palace of Arts of Queen Sofia and the opera house in Terma Caracalla. But, no matter how funny, not more virtual gladiators the size of a house were more impressed, but the sea of ​​twinkling yellow lights on a dark scene behind a muslin: this usually lies downstairs before the travelers a big city during the landing of an airplane in the evening hours.

And this only burned working bulbs on the SSR consoles under the control of Spaniard Antonio Mendez, who vainly tried to impress the five thousand spectators with the rich orchestra Respighi.

Clouds, oranges, fountains

There is still something clean

Presentation of the film by Bruno Monsenjon “Rostropovich. Indomitable bow. ” The Galina Vishnevskaya Opera Center.

It is not often that you see such guests at the same time: Naina Yeltsin and Natalia Solzhenitsyna were sitting in a box next to Olga Rostropovich. Bruno himself came to represent his documentary. He already showed it in Paris, Milan and New York; received his award at the Montreal Film Festival. It has a lot of archive video, there is also a unique, still not publicized exclusive shot.

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Thank you, the announcement is hidden.

Monsenjon grieved that 80 minutes of the film are crumbs, because every episode deserves a one-hour story. After all, not only the game of Rostropovich (and music sounds all the time), but his fine speech I want to listen and listen:

“When I play, even if something does not work out for me, I immediately forget and think: Well, what a beautiful place now!”

No wonder Yehudi Menuhin in the painting says:

“Listening to Rostropovich, the public felt that there was still something pure in this corrupt world”.

Bruno believes that a good documentary is emotionally as effective as an artistic documentary. Still, if we are talking about a giant personality with a biography that no Hollywood screenwriter could have invented! And its worthy continuation is the spring festival every year, revealing new names, orchestras and music.

Clouds, oranges, fountains

Clouds, oranges, fountains