Interesting and Humour - page 3217
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:-) alas no coordinates - and it's a pity ... Want to go for crucian carp try?
Yeah.
Last weekend I had such an experience: I went fishing on a pond in the district (Moscow, Timiryazevsky district). There were perch, bream and the occasional crucian. I was lucky. It was the first time this had happened at all:
Specially for YOU!
Every painting usually has an interesting story!
The image of the old park, solemn in its monumental majesty, is dominated by lofty-dreamy mood. It is accentuated by the fragile and thoughtful figure of the woman standing alone against the background of dark trees stretching like a mighty tent and seemingly serving as her safe haven. Lyricism of landscape motif becomes more expressive due to the common mood of mysterious world of nature and world of female soul and their peculiar dialogue. One of the critics of the Moscow Gazette wrote about the painting: Polenov perfectly owns the art and technique of depicting nature, the ideal centre of it is still a man, and its presence is felt everywhere. So in the painting Overgrown Pond is not a pond at all ... This pond has its own history ... Once again, this painting reflects the Romanticism. It would be very difficult to accurately define the category under which to place a painting by Polenov ... A Polenov picture - this is what the Germans call Stimmungsbild, such paintings are designed to give you, above all a mood and is about the same in painting that in poetry is elegy. In the landscape Polenov strives for emotional and visual contrasts. The bright green, with elaborately painted daisies in the foreground, the sunny meadow neighbours with mysterious depths of the dark mass of trees. The blue of the sky with white clouds, acting as a contrast to the dark trees in the park, opens through the airy haze. The diversity of the landscape, its romantic mystery and the unexpected combination of sunlit and shadowed parts, all very close to the stylistics of the early 19th century landscapes, were based on the fine and nuanced system of plein air painting developed by the painter as early as in his sketch
A pond in the park. Olyshanka (1876).
J Oops, there's a woman in there too, and I didn't see it. And it's all about crucian carp, crucian carp...
And in general what they write art critics is cunning wisdom. Polenov simply knew how to paint. He had no idea he was painting in the system of "plein air painting". Maybe he didn't even know the words.
J Oops, there' s a woman in there too, and I didn't get a good look. And it's all about crucian, crucian...
And in general, what the art historians write is a sly wisdom. Polenov knew how to paint. He had no idea he was painting in the system of "plein air painting". Maybe hedidn't even know the words.
yes yes! so"going for a crucian carp" - literally it can be very fruitful :-)
I think he knew, where he studied, they studied such complicated terms.
In the 1860s, Polenov studied at St. Petersburg University(his family could not imagine his later life without a university education) and at the Academy of Arts, which he later called his "spiritual home".
..
Vasily Polenov was born in St. Petersburg May 20 (June 1), 1844 in an old noble family, which kept the tradition of Russian nobility enlightened, going back to the second half of the XVIII century. Polenov's father, Dmitry Vasilyevich, was a famous historian, archaeologist and bibliographer. The artist's mother, Maria Alekseevna, née Voyeikova, was a children's writer and amateur artist.
...
Is your pet vaccinated?
Specially for YOU!
Every painting usually has an interesting story!
In the image of the old park, solemn in its monumental majesty, prevails lofty-dreamy mood. It is accentuated by the fragile, motionless and thoughtful figure of the woman standing alone against the background of dark trees stretching like a mighty tent and serving as her safe shelter. The lyricism of the landscape motif becomes more expressive due to the common mood of the mysterious world of Nature and the world of the female soul and their peculiar dialogue. One of the critics of the Moscow Gazette wrote about the painting: Polenov perfectly owns the art and technique of depicting nature, the ideal centre of it is still a man, and its presence is felt everywhere. So in the painting Overgrown Pond is not a pond at all ... This pond has its own history ... Once again, this painting reflects the Romanticism. It would be very difficult to accurately define the category under which to place a painting by Polenov ... A Polenov picture - this is what the Germans call Stimmungsbild, such paintings are designed to give you, above all a mood and is about the same in painting that in poetry is elegy. In the landscape Polenov strives for emotional and visual contrasts. The bright green, with elaborately painted daisies in the foreground, the sunny meadow neighbours with mysterious depths of the dark mass of trees. The blue of the sky with white clouds, acting as a contrast to the dark trees in the park, opens through the airy haze. The diversity of the landscape, its romantic mystery and the unexpected combination of sunlit and shadowed parts, all very close to the stylistics of the early 19th century landscapes, were based on the fine and nuanced system of plein air painting developed by the painter as early as in his sketch
A pond in the park. Olyshanka (1876).
Googled it. I think Mr. Polenov had several pictures of this pond from different angles. He must have lived there by this pond. Here's an example:
Response from virtual reality :)
Diction training with a poem
-----
Storm from the shore
Overturned, overturned.
White-eared eels, angry, furious.
Tossed down, tossed up,
Tangled and twisted from dawn to dawn.
Snakes shuddering, snakes shrieking,
What dance, what fairy tale are you playing in the darkness?
You have closed up and covered everything in the darkness,
You have closed all the fairways to the land.
The darknesses sucked in and girdled,
The ships are scattered, lost in the ocean,
With the unstoppable relentlessness of the tossing,
The water-snakes, the fire-snakes lured them into the abyss.
What do you deceive? With the swiftness
Of bending, wriggling, long-drawn bodies?
And do you not lull them with the slowness
of the intoxicating caresses that take you to an unexplored limit?
Author: Valery Bryusov