к о л л е к ц и я Интернет-магазин
Illustrations provided by the author
№ 69, October, 2008
COLLECTION
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Якерсон С.М. Еврейские сокровища Петербурга Цена: 6500 руб.*
Сцены из Божественной комедии Цена: 6318 руб.*
Первая книга данного издания посвящена петербургским собраниям еврейских рукописей хранящихся в Санкт-Петербурге и представленных в альбоме: * самые древние в мире датированные рукописи библейских текстов * самые полные списки сочинений крупнейших средневековых богословов * самые ранние в мире датированные рукописи
Богато иллюстрированное подарочное издание с трехсторонним серебряным обрезом и шелковым ляссе в подарочном футляре. Футляр выполнен в виде шкатулки, закрывающейся на магнитную кнопку. Переплет обтянут шелковой тканью с нанесенной на него репродукцией картины Гюстава Доре.
Барановский Г.В. Архитектурная энциклопедия второй половины XIX века I–VII том
Российские серебряные монеты 1832–1858 годов
Цена: 400 000 руб.* Энциклопедия воссоздана по изданию 1902–1908 годов, впервые печатается в 7 томах (8 книгах), в оригинальном формате и в полном объеме. В издание включены лучшие на тот период времени образцы художественноархитектурного творчества мастеров всего мира. В энциклопедию включены графические таблицы с подробными изображениями фасадов зданий, их фрагментов; планы, различные проекции, перспективы, разрезы и пр.
№ 69 октябрь 2008
rebels, depicts their leader, known as Prince Pio, furiously cursing the enslavers. The person in white shirt standing out from the darkness which surrounds the crowd is the symbol of the opposition between the good and the evil. Light and human being, eternity and one single moment, life and death — these are the eternal categories the painter is referring to. The artist has depicted the death of a human being as a chronicler, but light on his painting is immortal. Light on his canvas is the symbol of invincibility, it shows that the fight will go on, and the human spirit will never be defeated. Indeed, even after the execution of the first Spanish rebels, the fight went on, and the French army was left with no chance of victory. Goya’s etchings The Disasters of War are the witnesses of the Spanish opposition. Because the artist was so sincere and true to himself when creating these works, they can be interpreted as true historical documents in the XXI century. They are, of course, less artistic, as they reflect both — the atrocities of war in Spain and the artist’s personal tragedy (he was almost death at that time and suffering from a psychic disorder). However, this only makes the painting even more fascinating. The most amazing thing about The Disasters of War series is that the artist never focused on victories of either of the parties. He only depicted the horrible scenes, the symbols of human insanity. These characteristics at times can be typical to any nation. The artist could not stand blood-lust and filth of the so-called European civilized societies, which all of a sudden turned into monsters, rapists, and killers. A few theme plates of the series show that the artist tried hard to understand what exactly was going on with a person during the war. In the work called What courage! a woman is depicted in front of a huge weapon she had to deal with as all the men are lying dead beside her. The sheet And it can’t be helped shows a group of killers in the uniform, they go from one pole to another shooting people up as if it was some conveyor, and leave a line of dead bodies behind. An even crueler scene is depicted on the plate №19: the winning party soldiers rape women and kill them afterwards. Many of these artistic documents are dedicated to tortures, executions, and humiliations. The canvas depicting the execution conducted by Murat, Napoleon’s commander, expresses the true artist’s emotions and feeling about the terrible events taking place in Spain. At the same time, his black and white drawings are the accurate documents of history. Let us now go back to the painting and look at it a little closer. The soldiers who execute the captives have no faces: they embody the impersonal evil powers. The faces of the doomed people shine with fantastic light and stand out against the dark background. Their faces show neither fear, nor terror — they express the power of will and a heroic determination to oppose the inevitable evil, which will be defeated one day. It first seems that the artist uses such simple and image-bearing techniques by chance, however he used to spend many time searching for the right way to express his feeling about these events. He also left descriptions of his artistic manner in his journals: «Imagination devoid of reason produces monsters; when used together with reason, it becomes the mother of art, and the source of its miracles». One of the experts on Goya’s art claims that these fantastic images were nothing but a result of his hallucinations. His mind was altered by the disease and deafness. This is very possible, however his realism is an excellent allegory, a merciless disclosure, the study of human nature and animal desires. These works of art produced by the artist’s hallucinations belong to the times of great evil. The artist could stand it no longer and had to reproach the powers that be with a horrible sin of misanthropy. Yuri Gogolitsin
Цена: 3300 руб.* В книге приводятся рыночные цены редких монет на ноябрь-декабрь 2006 года. В книге более 550 фотографий и увеличенных фрагментов, даны выдержки из архивных документов. Каталог предназначен для коллекционеров-практиков и музейных работников.
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