Segantini, Sul balcone, 1892.  Milan, Palazzo Reale.  There is a symbolic meaning behind when the rest of the home Segantini, Baba, leaning on the wooden railing, but a studied balance of components, on which rests the image. The canopy is a crucial element of composition that, with its diagonal decided, defines the depth of the image, accentuating the line of vision of Baba and the balcony.

Segantini, Sul balcone, 1892. Milan, Palazzo Reale. There is a symbolic meaning behind when the rest of the home Segantini, Baba, leaning on the wooden railing, but a studied balance of components, on which rests the image. The canopy is a crucial element of composition that, with its diagonal decided, defines the depth of the image, accentuating the line of vision of Baba and the balcony.

pin 1
heart 1
Segantini, Ave Maria a trasbordo II, 1886.   A painting crucial, not only for the career of Segantini, but for Italian painting is considered the first work pointillist, although the technique of separation of colors has been applied scientifically. The light of dawn touches the roofs of the village lying on a strip of land that constitutes the horizon of the work and separating the sky from the water, which is transmitted light almost dazzling.

Segantini, Ave Maria a trasbordo II, 1886. A painting crucial, not only for the career of Segantini, but for Italian painting is considered the first work pointillist, although the technique of separation of colors has been applied scientifically. The light of dawn touches the roofs of the village lying on a strip of land that constitutes the horizon of the work and separating the sky from the water, which is transmitted light almost dazzling.

pin 1
heart 1
Segantini, Mezzogiorno sulle Alpi, 1891. The subject, as the title says, is the noon hour, captured through the cloudless sky, the blinding brightness, the woman staring at the horizon of a place outside of the composition and the green lawn. Nature is parsimonious high mountain, which even in summer becomes luxuriant.

Segantini, Mezzogiorno sulle Alpi, 1891. The subject, as the title says, is the noon hour, captured through the cloudless sky, the blinding brightness, the woman staring at the horizon of a place outside of the composition and the green lawn. Nature is parsimonious high mountain, which even in summer becomes luxuriant.

pin 1
heart 1
Mantegna, Cristo morto nel sepolcro e tre dolenti, 1470-1474. Milan, Pinacoteca di Brera. Is the one of the most famous paintings of the Italian Renaissance. The expressive power of the work is accentuated by foreshortening the body of Christ is very close to the audience that is dragged to the center of the drama. The features incisive lines force him to focus on details such as stiff limbs and wounds, ostensibly at first plan as set by the tradition of this kind of image.

Mantegna, Cristo morto nel sepolcro e tre dolenti, 1470-1474. Milan, Pinacoteca di Brera. Is the one of the most famous paintings of the Italian Renaissance. The expressive power of the work is accentuated by foreshortening the body of Christ is very close to the audience that is dragged to the center of the drama. The features incisive lines force him to focus on details such as stiff limbs and wounds, ostensibly at first plan as set by the tradition of this kind of image.

pin 1
Hayez, L’ultimo abboccamento di Jacopo Foscari con la propria famiglia (I due Foscari), 1838-1840. Hayez lends his face to the aged protagonist, the doge, forced to accept the condemnation of his son Jacopo, unjustly accused of treason, while leaning on his cane trembling with emotion.

Hayez, L’ultimo abboccamento di Jacopo Foscari con la propria famiglia (I due Foscari), 1838-1840. Hayez lends his face to the aged protagonist, the doge, forced to accept the condemnation of his son Jacopo, unjustly accused of treason, while leaning on his cane trembling with emotion.

pin 1
Segantini, L’amore alla fonte della vita, 1896. Milan, Palazzo Reale. The painting is the love merry and carefree woman and the pensive male, connected with the natural impulse of youth and spring. An angel suspicious, stretches the large wing on the mysterious source of life. The living water flows from the rock, both symbols of eternity.

Segantini, L’amore alla fonte della vita, 1896. Milan, Palazzo Reale. The painting is the love merry and carefree woman and the pensive male, connected with the natural impulse of youth and spring. An angel suspicious, stretches the large wing on the mysterious source of life. The living water flows from the rock, both symbols of eternity.

Sculptures of Mont'e Prama.  Cagliari, Archaeological Museum.

Sculptures of Mont'e Prama. Cagliari, Archaeological Museum.

Segantini, Primavera sulle Alpi, 1897. Milan, Palazzo Reale. It is depicted the essence of spring, or the awakening of nature. The heart of the scene is the pair of horses impetuous, that a farmer struggling to keep in check, remembering the power of nature, which no human action can contain. Boundary elements enrich the image and measure the distances: the watering hole, the sower, the dog, the farmer behind him.

Segantini, Primavera sulle Alpi, 1897. Milan, Palazzo Reale. It is depicted the essence of spring, or the awakening of nature. The heart of the scene is the pair of horses impetuous, that a farmer struggling to keep in check, remembering the power of nature, which no human action can contain. Boundary elements enrich the image and measure the distances: the watering hole, the sower, the dog, the farmer behind him.

heart 1
Segantini, Ritorno dal bosco, 1890. In a winter afternoon a woman returns to Savognino carrying a sled load of wood. With his gait slow and fatigued, it just entered in the frame and moves along a track already laid, which cuts diagonally across a vast expanse of snow. The country, with the snow-covered roofs, tightens around the bell tower in shadow, almost crushed from the impending mountain range that stretches uninterrupted.

Segantini, Ritorno dal bosco, 1890. In a winter afternoon a woman returns to Savognino carrying a sled load of wood. With his gait slow and fatigued, it just entered in the frame and moves along a track already laid, which cuts diagonally across a vast expanse of snow. The country, with the snow-covered roofs, tightens around the bell tower in shadow, almost crushed from the impending mountain range that stretches uninterrupted.

Segantini, Ritorno al paese natio, 1895. Milan, Palazzo Reale. The death is combined with the immigration issue. The painting, all played on the horizontal that promote a sense of stagnation, shows a plateau in the shade and inhospitable. A man, dressed in black, leading a hand-cart on which is located the coffin of her son, crying desperately by his widow and a second person.

Segantini, Ritorno al paese natio, 1895. Milan, Palazzo Reale. The death is combined with the immigration issue. The painting, all played on the horizontal that promote a sense of stagnation, shows a plateau in the shade and inhospitable. A man, dressed in black, leading a hand-cart on which is located the coffin of her son, crying desperately by his widow and a second person.

Pinterest • il catalogo mondiale delle idee
Search