Nature morte sur un guéridon-PABLO-PICASSO
(治愈上的静物-毕加索)
372.
风景中的公牛 - 毕加索 高清作品[24%]
373.
球体上的静物 - 毕加索 高清作品[24%]
374.
留胡子的男人的侧面(b.1830;ba.727) - 毕加索。 高清作品[24%]
375.
思想家,思想家`Le Penseur, The Thinker by Auguste Rodin 高清作品[24%]
图片文件尺寸: 8186×9800 px
思想家,思想家-奥古斯特·罗丁
-The Thinker was originally conceived not in heroic isolation, but as part of Rodin\'s monumental Gates of Hell—a pair of bronze doors intended for a museum of decorative arts in Paris. Although the doors were never cast during the sculptor\'s lifetime, they nevertheless provided Rodin a rich source of ideas for individual figures and groups that he worked and reworked for the rest of his career.
The theme for Gates of Hell was taken from Dante\'s Inferno, and this figure, planned for the lintel on top, was initially conceived as the poet himself. His nudity, though, marked him as a universal embodiment of every poet—every creator—who draws new life from the imagination. In the late 1880s Rodin began to exhibit the figure, sometimes with the title Poet, other times as Poet/Thinker. By 1896, however, it had become simply The Thinker, a still more universal image that reveals in physical terms the mental effort and even anguish of creativity. As Rodin himself described: \"What makes my Thinker think is that he thinks not only with his brain, with his knitted brow, his distended nostrils and compressed lips, but with every muscle of his arms, back, and legs, with his clenched fist and gripping toes.\"
Rodin\'s Thinker exists today in many casts and sizes. More than fifty are known in this size—which is the size of Rodin\'s original handmade clay model.
376.
敌对的救助主义者`
The rival salvationists (1908) by Udo Keppler 高清作品[24%]
377.
炮制主义的山羊`
The goat of Cannonism (1910) by Udo Keppler 高清作品[24%]
378.
黑暗的未来主义者`
A Dark Futurist (1923) by Maxfield Parrish 高清作品[24%]
379.
2010年,害羞的裸体主义者在旁路支路上野餐 by Kawamura Gun 高清作品[24%]
380.
古典现代主义中的胡里奥·冈萨雷斯` by
Julio Gonzalez 高清作品[24%]
古典现代主义中的胡里奥·冈萨雷斯-
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(Barcelona 1876–1942 Arcueil b. Paris)
Personnage assis (Entwurf für eine Skulptur), 1938, monogrammiert, datiert J. G. 28–1–38, Aquarell, Bleistift, Feder und Tusche auf Velin, Papiermaße 27 x 20 cm, ger., (PP)
Die Authentizität des vorliegenden Werkes wurde von Philippe Grimminger bestätigt.
Wir danken Philippe Grimminger die freundliche Unterstützung.
Fotozertifikat:
Carmen Martinez und Viviane Grimminger, Paris, 19. August 1987
Provenienz:
Galerie de France, Paris (auf der Rückseite Klebezettel)
Europäische Privatsammlung
Ausgestellt:
New York, Museum of Modern Art, 1968–1970, Wanderausstellung in mehreren Städten in den USA, Ausst.-Kat. Nr. 30;
Bern, Kunstmuseum, Julio González, Zeichnen im Raum, 27. Juni–7. September 1997, Ausst.-Kat. Nr. 150 mit Abb. S. 182
Literatur:
Josette Gibert, Catalogue raisonné, Projet pour sculptures, Personnages, Bd. IX, S. 63 mit Abb.