A RARE PAIR OF CHINESE IRON-RED AND GILT VASES, QING DYNASTY, KANGXI PERIOD-A-RARE-PAIR-OF-CHINESE-IRON-RED-AND-GILT-VASES-QING-DYNASTY-KANGXI-PERIOD
(一对罕见的中国铁红镀金花瓶,清代,康熙时期-一对罕见的中国铁红镀金花瓶——清康熙时期)
32.
一对中国青花造型的盘子,清代,康熙时期 - 一对中国青花盘——清康熙时期 高清作品[32%]
33.
清朝康熙时期两位中国外销男童家族人物 - 清朝康熙时期的两位中国外销男童 高清作品[32%]
34.
钢琴家的左手`Left Hand of a Pianist by Auguste Rodin 高清作品[32%]
图片文件尺寸: 6355×9000 px
钢琴家的左手-奥古斯特·罗丁
-François Auguste René Rodin (1840–1917) was a 法国艺术家 sculptor generally considered the founder of modern sculpture. He was schooled traditionally and took a craftsman-like approach to his work. Rodin possessed a unique ability to model a complex, turbulent, and deeply pocketed surface in clay. He is known for such sculptures as The Thinker, The Kiss, The Burghers of Calais, and The Gates of Hell.
In 1900, the critic Gustave Kahn wrote, \"Rodin is the sculptor of hands, raging, tensed, arched, damned hands\". There is no doubt that Rodin attached more importance to this part of the body than any other. Fascinated by the expressive power of isolated hands, he studied them unceasingly, accumulating in his studio numerous studies in clay or plaster, in which the sensitivity of the modelling vies with the verisimilitude of the gesture.
Through hands, Rodin expresses the full range of human emotions, from anxiety to suffering, from resignation to despair. As revealing as the face, on their own they can sometimes symbolize a form of human activity, such as this Hand of a Pianist which seems to run over an imaginary keyboard with nervous energy.
35.
城市中的爵士乐-低音提琴/城市中的爵士乐-钢琴家/城市中的爵士乐-小号手,2004 by David Gerstein 高清作品[32%]
36.
钢琴家的左手,1910年`Left Hand of a Pianist, 1910 by Auguste Rodin 高清作品[32%]
图片文件尺寸: 6327×9000 px
钢琴家的左手,1910年-奥古斯特·罗丁
-François Auguste René Rodin (1840–1917) was a 法国艺术家 sculptor generally considered the founder of modern sculpture. He was schooled traditionally and took a craftsman-like approach to his work. Rodin possessed a unique ability to model a complex, turbulent, and deeply pocketed surface in clay. He is known for such sculptures as The Thinker, The Kiss, The Burghers of Calais, and The Gates of Hell.
In 1900, the critic Gustave Kahn wrote, \"Rodin is the sculptor of hands, raging, tensed, arched, damned hands\". There is no doubt that Rodin attached more importance to this part of the body than any other. Fascinated by the expressive power of isolated hands, he studied them unceasingly, accumulating in his studio numerous studies in clay or plaster, in which the sensitivity of the modelling vies with the verisimilitude of the gesture.
Through hands, Rodin expresses the full range of human emotions, from anxiety to suffering, from resignation to despair. As revealing as the face, on their own they can sometimes symbolize a form of human activity, such as this Hand of a Pianist which seems to run over an imaginary keyboard with nervous energy.