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| Giovanni's machines - all paintings by the artist. Amazing discoveries that scientists made while looking at the paintings of great painters What is depicted in the painting by Giovanni Stanchi |
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Antique painting- This is part of the world historical and cultural heritage. For fans of antiques, antique paintings from our collection will be a wonderful addition to the interior and collection. We present to your attention oil paintings, antique graphics, pastels, as well as ancient lithographs of recognized masters. In our gallery you can buy antique paintings from both the European and Russian schools of painting. The collection of our gallery also contains rare panels, ancient bas-reliefs and antique engravings. In the gallery you can buy old paintings by such artists as ,
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and many others. Antique paintings in the gallery collectionThe collection of our gallery presents a classic example of French genre painting of the mid-eighteenth century by Jacques de Lajoux - painting "Bathing of the Sultana". The works of Jacques de Lajoux remained closely connected with the tradition of Italian and French Baroque and were practically not affected by the academic classicism of the 18th century. His work allows us to trace the impact of the pictorial heritage of the so-called “Watteau school” on the nature of the works created by French masters in the second quarter of the 18th century. Despite some similarity of Jacques de Lajoux's manners with Francois Boucher, he retained an individual approach to images and was unlike the frivolous manner, excessive effeminacy and sweetness of the minor Rococo masters. His paintings are characterized by a sense of ephemerality, subtle poeticization, eloquent pauses and half-hints. An important feature of the aesthetics of the gallant age in painting is a certain understatement, play, giving the viewer the opportunity to guess and figure out the plot of what is happening. If you look closely at the picture, then first of all your gaze falls on the luxurious powder-colored drapery crowning the laconic rocaille architectural element, then it slides over the female figure in the pose of an ancient goddess and stops at two maids obligingly bowing before their mistress, and Venus appears in the form contemporaries of the artist. The languid pose of the sultana is regal and majestic, the flexible lines of her body are full of musical smoothness. Garlands and bouquets of lushly blooming flowers– a real hymn to full-blooded female beauty. The work of Jacques de Lajoux retained an aristocratic character and met the requirements of Rococo art, the main goal of which was to please and entertain. You can buy the antique painting “The Bathing of the Sultana” by Jacques de Lajoux in our gallery, located at: Tverskoy Boulevard, 26. In 1660, Stanchi, commissioned by Cardinal Flavio Chigi, decorated his gallery with flower and fruit still lifes. Cardinal Chigi remained his main customer until 1673. Commissioned by Cardinal Benedetto Pamphili, Stanchi painted still lifes of musical instrument cases. In 1675 Stanchi worked with Ciro Ferri, decorating mirrors in the Palazzo Borghese. Like Mario Nuzzi, Stanchi also worked as a theater decorator. Most of Stanca's surviving paintings are in Rome. The Galleria Pallavicini contains two paintings, and the Capitoline Museums contains two door paintings that formerly belonged to the collection of the Sacchetti family. Flower garlands by Stanki decorate the lunettes in the Palazzo Colonna. Two flower garlands commissioned by Vittoria della Rovere (previously 1686) are now in the Uffizi Gallery and Palazzo Pitti. Still life with watermelonsOne of Stanka's paintings, " Still life with watermelons", attracted the attention of historians, biologists and the general public as a clear illustration of the results of selection. The picture shows that in the 17th century the rind of the watermelon was much thicker, tough tissue divided the edible pulp into cells, and the seeds were much larger. Write a review of the article "Machines, Giovanni"Literature
NotesLinksExcerpt characterizing Stanchi, Giovanni- Oh, what a brute I am, however! - Rostov said, reading the letter.- And what? - Oh, what a pig I am, however, that I never wrote and scared them so much. “Oh, what a pig I am,” he repeated, suddenly blushing. - Well, let’s go get some wine for Gavrilo! Well, okay, let's do it! - he said… In the letters of the relatives there was also a letter of recommendation to Prince Bagration, which, on the advice of Anna Mikhailovna, the old countess obtained through her friends and sent to her son, asking him to take it for its intended purpose and use it. - This is nonsense! “I really need it,” said Rostov, throwing the letter under the table. - Why did you leave it? – asked Boris. - Some kind of letter of recommendation, what the hell is there in the letter! - What the hell is in the letter? – Boris said, picking up and reading the inscription. – This letter is very necessary for you. “I don’t need anything, and I won’t go as an adjutant to anyone.” - From what? – asked Boris. - Lackey position! “You’re still the same dreamer, I see,” Boris said, shaking his head. – And you are still the same diplomat. Well, that’s not the point... Well, what are you talking about? - asked Rostov. - Yes, as you see. So far so good; but I admit, I would very much like to become an adjutant, and not remain at the front. - For what? - Because, having already started a career in military service, you should try to make, if possible, a brilliant career. - Yes, that’s how it is! - said Rostov, apparently thinking about something else. He looked intently and questioningly into his friend’s eyes, apparently searching in vain for a solution to some question. Old man Gavrilo brought wine. “Shouldn’t I send for Alphonse Karlych now?” - said Boris. - He will drink with you, but I can’t. - Go-go! Well, what is this nonsense? - Rostov said with a contemptuous smile. “He is a very, very good, honest and pleasant person,” said Boris. Rostov looked intently into Boris’s eyes again and sighed. Berg returned, and over a bottle of wine the conversation between the three officers became lively. The guardsmen told Rostov about their campaign, about how they were honored in Russia, Poland and abroad. They told about the words and deeds of their commander, the Grand Duke, and anecdotes about his kindness and temper. Berg, as usual, was silent when the matter did not concern him personally, but on the occasion of anecdotes about the Grand Duke’s temper, he told with pleasure how in Galicia he managed to talk with the Grand Duke when he was driving around the shelves and was angry about the wrong movement. With a pleasant smile on his face, he told how the Grand Duke, very angry, rode up to him and shouted: “Arnauts!” (Arnauts was the crown prince’s favorite saying when he was angry) and demanded a company commander. “Believe me, Count, I wasn’t afraid of anything, because I knew that I was right.” You know, Count, without boasting, I can say that I know the regimental orders by heart and I also know the regulations, like the Our Father in heaven. Therefore, Count, I never have any omissions in my company. So my conscience is calm. I showed up. (Berg stood up and imagined how he appeared with his hand to the visor. Indeed, it was difficult to portray more respect and self-satisfaction in his face.) He pushed me, as they say, pushed, pushed; pushed not to the stomach, but to death, as they say; and “Arnauts,” and devils, and to Siberia,” Berg said, smiling shrewdly. “I know that I’m right, and that’s why I’m silent: isn’t it, Count?” “What, are you dumb, or what?” he screamed. I'm still silent. What do you think, Count? The next day there was no order: this is what it means not to get lost. So, Count,” said Berg, lighting his pipe and blowing some rings. “Yes, that’s nice,” Rostov said, smiling. But Boris, noticing that Rostov was about to laugh at Berg, skillfully deflected the conversation. He asked Rostov to tell us how and where he received the wound. Rostov was pleased with this, and he began to tell, becoming more and more animated as he spoke. He told them his Shengraben affair exactly as those who participated in them usually talk about battles, that is, as they would like it to have happened, as they had heard from other storytellers, as it was more beautiful to tell, but not at all the way it was. Rostov was a truthful young man; he would never deliberately tell a lie. He began to tell with the intention of telling everything exactly as it was, but imperceptibly, involuntarily and inevitably for himself, he turned into a lie. If he had told the truth to these listeners, who, like himself, had already heard stories about the attacks many times and formed a definite concept of what the attack was, and expected exactly the same story - or they would not have believed him, or, even worse, they would have thought that Rostov himself was to blame for the fact that what usually happens to storytellers of cavalry attacks did not happen to him. He couldn’t tell them so simply that they all rode at a trot, he fell off his horse, lost his arm and ran with all his might into the forest away from the Frenchman. In addition, in order to tell everything as it happened, it was necessary to make an effort on oneself to tell only what happened. Telling the truth is very difficult; and young people are rarely capable of this. They were waiting for the story of how he was burning all over the fire, not remembering himself, how he flew into the square like a storm; how he cut into it, chopped right and left; how the saber tasted the meat, and how he fell exhausted, and the like. And he told them all this. Giovanni machines(1608 - 1675) Italian still life painter and decorator.Machine tools born in Rome in 1608 into a family of artists. In the municipal archives of Rome there are references to three artists with the surname Stanchi, all of them living in 1656 on Strada Paolina: Giovanni (1608 - after 1675), Niccolo (circa 1623-1690) and Angelo (1626 - after 1675). All three brothers were quite prolific artists, but all accounts and contracts were concluded in the name of Giovanni - probably, as the eldest brother, he was responsible for the finances of the family artel. Therefore, determining which brother is the author of this or that painting has always presented certain difficulties. Giovanni Stanchi mentioned for the first time in 1634, in the register of the Guild of Artists of St. Luke. Membership in the guild was paid and allowed the artist to make acquaintances and receive orders from wealthy families. In 1638 Machine tools painted a painting for the Barberini family that depicted the family's coat of arms entwined with flowers. Many wealthy Roman families commissioned paintings Machine tools. In collaboration with the painters Baccicchio and Maratti, who specialized in painting, and also in collaboration with Mario Nuzzi, who, like Stanchi, was a specialist in floral still lifes, Machine tools receives rich orders. Thus, in an invoice dating back to 1670, issued to the Colonna family, Giovanni Stanchi and Nuzzi are mentioned as being responsible for the still lifes decorating the famous mirror in the Palazzo Colonna. In 1660 Machine tools commissioned by Cardinal Flavio Chigi, he decorated his gallery with flower and fruit still lifes. Cardinal Chigi remained his main customer until 1673. Commissioned by Cardinal Benedetto Pamphili Machine tools painted still lifes of musical instrument cases. In 1675 Machine tools worked with Ciro Ferri, decorating mirrors in the Palazzo Borghese. Like Mario Nuzzi, Stanchi also worked as a theater decorator. Most of Stanca's surviving paintings are in Rome. The Galleria Pallavicini houses two paintings, and the Capitoline Museums houses two door paintings that formerly belonged to the collection of the Sacchetti family. Flower garlands by Stanki decorate the lunettes in the Palazzo Colonna. Two flower garlands commissioned by Vittoria della Rovere (previously 1686) are now in the Uffizi Gallery and Palazzo Pitti. |
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