een fascinerend schilderij.. vond ik, die leegte met die vreemd aankomende bui(links op het schilderij, mensen op de voorgrond of iets vaags.. gescheiden van de rest achter een bosje en bult of heuvel van iets onbepaalds.. een plat verscholen huis in de bosrand. Het is van Philips Koninck zoals uit bijstaand stukje mag worden aangenomen.
Philips Koninck was a member of Rembrandt's entourage. His drawings and early painted landscapes show that he learned from Rembrandt. However, by the middle of the century he began to paint large panoramic views that are independent of the master's style. They rank with the most grandiose of the age.
Where Molenaer and Houckgeest more or less assumed a specific viewing position outside the pictorial space, and Saenredam's perspective suggests looking from within it, many landscape painters positioned the beholder in undefined or even impossibly high positions. Koninck often suggested such a bird's-eye view in his sweeping panoramas of Dutch fields and rivers beneath imposing skies. The absence of one fixed viewpoint implies that the viewer is seeing an objective record of a city or landscape, recorded without human intervention.
It has been suggested that, by positing such a freely surveying eye, these landscapes resemble the exquisite maps produced in great variety and quantity in the Dutch Republic. The maps depicted in genre scenes, hung on walls like paintings, indeed indicate that seventeenth-century viewers did not make the modern distinction between paintings as "art" and maps as "knowledge."
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een fascinerend schilderij..
vond ik, die leegte met die vreemd aankomende bui(links op het schilderij, mensen op de voorgrond of iets vaags.. gescheiden van de rest achter een bosje en bult of heuvel van iets onbepaalds.. een plat verscholen huis in de bosrand.
Het is van Philips Koninck zoals uit bijstaand stukje mag worden aangenomen.
Philips Koninck was a member of Rembrandt's entourage. His drawings and early painted landscapes show that he learned from Rembrandt. However, by the middle of the century he began to paint large panoramic views that are independent of the master's style. They rank with the most grandiose of the age.
Where Molenaer and Houckgeest more or less assumed a specific viewing position outside the pictorial space, and Saenredam's perspective suggests looking from within it, many landscape painters positioned the beholder in undefined or even impossibly high positions. Koninck often suggested such a bird's-eye view in his sweeping panoramas of Dutch fields and rivers beneath imposing skies. The absence of one fixed viewpoint implies that the viewer is seeing an objective record of a city or landscape, recorded without human intervention.
It has been suggested that, by positing such a freely surveying eye, these landscapes resemble the exquisite maps produced in great variety and quantity in the Dutch Republic. The maps depicted in genre scenes, hung on walls like paintings, indeed indicate that seventeenth-century viewers did not make the modern distinction between paintings as "art" and maps as "knowledge."
Heeft er verder nog iemand zin om mee tegaan naar de nightwatch(film)
http://www.nu.nl/news/604468/71/Nightwatch_(Nochnoi_Dozor)_-_Timoer_Bekmambetov_(trailer).html
dianne ? d'r zitten heksen in enzo.. :)
Wanneer draait deze zinneprikkelaar ?
ik heb zin om mee te gaan ,
lekker laat graag.......
ik dacht aan vrijdag..
http://uk.download.yahoo.com/ne/fu/oa/spotthescotsman.wmv
deze kreeg ik nog uit Australië..
geinig
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