5. 一对文艺复兴风格的剪刀椅,德国,4。第19季度。` by Paar Scherensessel im Renaissancestil, Deutsch, 4. Viertel 19. Jahrhundert 高清作品[64%]

DO-Paar Scherensessel im Renaissancestil, Deutsch, 4. Viertel 19. Jahrhundert - Weihnachtsauktion
图片文件像素:4600 x 3500 px

一对文艺复兴风格的剪刀椅,德国,4。第19季度。圣诞节拍卖会-

-

深色橡木,剪刀形,有刀刃状的脚,浮雕和部分半雕塑雕刻,靠背带有对称的龙卷须装饰,侧面的女性头部带有兜帽和蜗壳,弯曲的扶手带有蜗牛浮雕,前面的putti和狮子头,高约110厘米,宽约72厘米,深约68厘米,年龄和使用Ruf 360的迹象

8. 想家想家`Le Penseur, The Thinker by Auguste Rodin 高清作品[39%]

AF-Le Penseur, The Thinker

图片文件尺寸: 8186×9800 px

想家想家-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.