Boyar Ezkontza Jaia
Boyar Ezkontza Jaia c1883 errusiar pintorearen eskutik Konstantin Makovski (1839 – 1915); Errusiako pintura historikoetan espezializatua, iragan mendeetako Errusiako bizitzaren ikuspegi idealizatua erakusten dutenak.
Hau Boyar Ezkontza Jai tradizional bateko jai-bilketa baten margolan bat da, gizon-emakumeek beren soineko onen eta koloretsuz jantzita, zerbitzariekin janari-plater handiak ekartzen zituzten, antzara betea barne; denek ezkongaien ezkontza ospatzen baitute.
Hau sarean eskuragarri dagoen domeinu publikoko irudi baten erreprodukzioa da arte digitaleko maisu zaharren erreprodukzioa mihise inprimatua.
Hemendik eratorritako informazioa behean Wikipedia.org
Konstantin Makovski eragin handiko margolari errusiarra izan zen, afiliatuta “Peredvizhniki (Ibiltariak)”. Bere margolan historiko asko, hala nola, Koroaren azpian (1889) Errusiako emaztegaiaren jantzia eta ezkontza aurretik bezala ere ezaguna, mendeetako errusiar bizitzaren ikuspegi idealizatua erakutsi zuen. Arte akademikoaren ordezkaritzat hartzen da askotan.
Konstantin Makovsky Moskun jaio zen. Bere aita errusiar artearen figura eta margolari afizionatua zen, Jegor Ivanovitx Makovski. Bere ama konpositorea zen, eta espero zuen bere semeak egunen batean bere urratsak jarraitzea. Bere anaia txikiak Vladimir eta Nikolay eta bere arreba Alexandra ere margolari izatera iritsi ziren.
In 1851 Makovsky Moskuko Pintura Eskolan sartu zen, Eskultura eta Arkitektura non ikasle nagusi bihurtu zen, eskuragarri dauden sari guztiak erraz eskuratzea. Bere irakasleak Karl Bryullov eta Vasily Tropinin izan ziren. Makovskyren erromantizismorako eta dekorazio-efektuetarako joerak Bryulloven eraginez azal daitezke..
Artea bere pasioa izan arren, he also considered what his mother had wanted him to do. He set off to look for composers he could refer to, and first went to France. Before, he had always been a classical music lover, and listened to many pieces. He often wished he could change the tune, or style of some of them to make them more enjoyable. Later in his life it came true.
In 1858 Makovsky entered the Imperial Academy of Arts in Saint Petersburg. Bertatik 1860 he participated in the Academy’s exhibitions with paintings such as Curing of the Blind (1860) and Agents of the False Dmitry kill the son of Boris Godunov (1862). In 1863 Makovsky and thirteen other students held a protest against the Academy’s setting of topics from Scandinavian mythology in the competition for the Large Gold Medal of Academia; all left the academy without a formal diploma.
Makovsky became a member of a co-operative (artel) of artists led by Ivan Kramskoi, typically producing Wanderers paintings on everyday life (Widow 1865, Herring-seller 1867, etab.). Bertatik 1870 he was a founding member of the Society for Traveling Art Exhibitions and continued to work on paintings devoted to everyday life. He exhibited his works at both the Academia exhibitions and the Traveling Art Exhibitions of the Wanderers.
A significant change in his style occurred after traveling to Egypt and Serbia in the mid-1870s. His interests changed from social and psychological problems to the artistic problems of colors and shape.
In the 1880s he became a fashionable author of portraits and historical paintings. At the World’s Fair of 1889 in Paris he received the Large Gold Medal for his paintings Death of Ivan the Terrible, The Judgement of Paris, and Demon and Tamara. He was one of the most highly appreciated and highly paid Russian artists of the time. Many democratic critics considered him as a renegade of the Wanderers’ ideals, producing (like Henryk Siemiradzki) striking but shallow works,[2] while others see him as a forerunner of Russian Impressionism.
Makovsky was killed in 1915 when his horse-drawn carriage was hit by an electric tram in Saint Petersburg.