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Geo Ad™ Forum » Xelovnebis Dargebi » Mxatvroba » cnobili xelovani adamianebis biograpiebi (cnobili mxatvrebis, moqandakeebis da biograpia)
cnobili xelovani adamianebis biograpiebi
shako0lpDate: Wednesday, 2008-01-16, 20:31 | Message # 1
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davpostot cnobili qartveli tu ucxoeli xelovani adamianebsi biograpiebi da namushevrebsac tu daamatebt kai ikneba!!!

f**k all art thieves!!!!
shako0lpDate: Wednesday, 2008-01-16, 20:43 | Message # 2
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დავიწყოთ ფრანცისკო გოიათი! გენიოსი იყო! ვაღიარებ!

Birth name Francisco José de Goya y Lucientes
Born March 30, 1746(1746-03-30)
Died April 16, 1828 (aged 82)
Nationality Spanish
Field Painting, Printmaking
Famous works La maja desnuda, ca. 1800
La maja vestida, ca. 1803

The Second of May 1808, 1814
The Third of May 1808, 1814
La familia de Carlos IV, 1798

Francisco José de Goya y Lucientes (March 30, 1746 – April 16, 1828) was a Aragonese Spanish painter and printmaker.

Goya was a court painter to the Spanish Crown and a chronicler of history. He has been regarded both as the last of the Old Masters and as the first of the moderns. The subversive and subjective element in his art, as well as his bold handling of paint, provided a model for the work of later generations of artists, notably Manet and Picasso.

Many of Goya's works are on display in the Museo del Prado in Madrid.


Goya was born in Fuendetodos, Spain, in the kingdom of Aragón in 1746 to José Goya and Gracia Lucientes. He spent his childhood in Fuendetodos, where his family lived in a house bearing the family crest of his mother. His father earned his living as a gilder. About 1749, the family bought a house in the city of Zaragoza and some years later moved into it.

Goya attended school at Escuelas Pias, where he formed a close friendship with Martin Zapater, and their correspondence over the years became valuable material for biographies of Goya. At age 14, he entered apprenticeship with the painter José Luján.

He later moved to Madrid where he studied with Anton Raphael Mengs, a painter who was popular with Spanish royalty. He clashed with his master, and his examinations were unsatisfactory. Goya submitted entries for the Royal Academy of Fine Art in 1763 and 1766, but was denied entrance.

He then journeyed to Rome, where in 1771 he won second prize in a painting competition organized by the City of Parma. Later that year, he returned to Zaragoza and painted a part of the cupola of the Basilica of the Pillar, frescoes of the oratory of the cloisters of Aula Dei, and the frescoes of the Sobradiel Palace. He studied with Francisco Bayeu y Subías and his painting began to show signs of the delicate tonalities for which he became known.

Maturity and success

Goya married Bayeu's sister Josefa in 1774. His marriage to Josefa (he nicknamed her "Pepa"), and Francisco Bayeu's membership of the Royal Academy of Fine Art - he had been a member since 1765 - helped him to procure work with the Royal Tapestry Workshop. There, over the course of five years, he designed some 42 patterns, many of which were used to decorate (and insulate) the bare stone walls of El Escorial and the Palacio Real de El Pardo, the newly built residences of the Spanish monarchs. This brought his artistic talents to the attention of the Spanish monarchs who later would give him access to the royal court. He also painted a canvas for the altar of the Church of San Francisco El Grande, which led to his appointment as a member of the Royal Academy of Fine Art.

In 1783, the Count of Floridablanca, a favorite of King Carlos III, commissioned him to paint his portrait. He also became friends with Crown Prince Don Luis, and lived in his house. His circle of patrons grew to include the Duke and Duchess of Osuna, whom he painted, the King and other notable people of the kingdom.

After the death of Charles III in 1788 and revolution in France in 1789, during the reign of Charles IV, Goya reached his peak of popularity with royalty.


After contracting a high fever in 1792 Goya was left deaf, and he became withdrawn and introspective. During the five years he spent recuperating, he read a great deal about the French Revolution and its philosophy. The bitter series of aquatinted etchings that resulted were published in 1799 under the title Caprichos. The dark visions depicted in these prints are partly explained by his caption, "The sleep of reason produces monsters". Yet these are not solely bleak in nature and demonstrate the artist's sharp satirical wit, particularly evident in etchings such as Hunting for Teeth. Additionally, one can discern a thread of the macabre running through Goya's work, even in his earlier tapestry cartoons.

Painter of royalty

In 1786 Goya was appointed painter to Charles III, and in 1789 was made court painter to Charles IV. In 1799 he was appointed First Court Painter with a salary of 50,000 reales and 500 ducats for a coach. He worked on the cupola of the Hermitage of San Antonio de la Florida; he painted the King and the Queen, royal family pictures, portraits of the Prince of the Peace and many other nobles. His portraits are notable for their disinclination to flatter, and in the case of The Family of Charles IV, the lack of visual diplomacy is remarkable.

Goya received orders from many friends within the Spanish nobility. Among those from whom he procured portrait commissions were Pedro de Álcantara Téllez-Girón, 9th Duke of Osuna and his wife María Josefa de la Soledad, 9th Duchess of Osuna, María del Pilar Teresa Cayetana de Silva y Álvarez de Toledo, 13th Duchess of Alba (universally known simply as the "Duchess of Alba"), and her husband José Álvarez de Toledo y Gonzaga, 13th Duke of Alba, and María Ana de Pontejos y Sandoval, Marchioness of Pontejos.

Later years

As French forces invaded Spain during the Peninsular War (1808–1814), the new Spanish court received him as had its predecessors.

When Josefa died in 1812, Goya was painting The Charge of the Mamelukes and The Third of May 1808, and preparing the series of prints known as The Disasters of War (Los desastres de la guerra).

King Ferdinand VII came back to Spain but relations with Goya were not cordial. In 1814 Goya was living with his housekeeper Doña Leocadia and her illegitimate daughter, Rosario Weiss; the young woman studied painting with Goya, who may have been her father.[4] He continued to work incessantly on portraits, pictures of Santa Justa and Santa Rufina, lithographs, pictures of tauromachy, and more.

With the idea of isolating himself, he bought a house near Manzanares, which was known as the Quinta del Sordo (roughly, "House of the Deaf Man", titled after its previous owner and not Goya himself). There he made the Black Paintings.

Unsettled and discontented, he left Spain in May 1824 for Bordeaux and Paris. He settled in Bordeaux. He returned to Spain in 1826 after another period of ill health. Despite a warm welcome, he returned to Bordeaux where he died in 1828 at the age of 82.


Goya painted the Spanish royal family, including Charles IV of Spain and Ferdinand VII. His themes range from merry festivals for tapestry, draft cartoons, to scenes of war and corpses. This evolution reflects the darkening of his temper. Modern physicians suspect that the lead in his pigments poisoned him and caused his deafness since 1792. Near the end of his life, he became reclusive and produced frightening and obscure paintings of insanity, madness, and fantasy. The style of these Black Paintings prefigure the expressionist movement. He often painted himself into the foreground.

The Maja
The Nude Maja, ca. 1800.
The Nude Maja, ca. 1800.
The Clothed Maja, ca. 1803.
The Clothed Maja, ca. 1803.

Two of Goya's best known paintings are The Nude Maja (La maja desnuda) and The Clothed Maja (La maja vestida). They depict the same woman in the same pose, naked and clothed, respectively. He painted La maja vestida after outrage in Spanish society over the previous Desnuda. Without a pretense to allegorical or mythological meaning, the painting was "the first totally profane life-size female nude in Western art".[5] He refused to paint clothes on her, and instead created a new painting. (See also: Majo.)

The identity of the Majas is uncertain. The most popularly cited subjects are the Duchess of Alba, with whom Goya is thought to have had an affair, and the mistress of Manuel de Godoy, who subsequently owned the paintings. Neither theory has been verified, and it remains as likely that the paintings represent an idealized composite.

In 1808 the paintings were seized by Ferdinand VI, and in 1813 the Inquisition confiscated both works as 'obscene'.

Darker realms

In a period of convalescence during 1793–94, Goya completed a set of eleven small pictures painted on tin; the pictures known as Fantasy and Invention mark a significant change in his art. These paintings no longer represent the world of popular carnival, but rather a dark, dramatic realm of fantasy and nightmare.

Courtyard with Lunatics is a horrifying and imaginary vision of loneliness, fear and social alienation, a departure from the rather more superficial treatment of mental illness in the works of earlier artists such as Hogarth. In this painting, the ground, sealed by masonry blocks and iron gate, is occupied by patients and a single warden. The patients are variously staring, sitting, posturing, wrestling, grimacing or disciplining themselves. The top of the picture vanishes with sunlight, emphasizing the nightmarish scene below.

This picture can be read as an indictment of the widespread punitive treatment of the insane, who were confined with criminals, put in iron manacles, and subjected to physical punishment. And this intention is to be taken into consideration since one of the essential goals of the enlightenment was to reform the prisons and asylums, a subject common in the writings of Voltaire and others. The condemnation of brutality towards prisoners (whether they were criminals or insane) was the subject of many of Goya’s later paintings.

As he completed this painting, Goya was himself undergoing a physical and mental breakdown. It was a few weeks after the French declaration of war on Spain, and Goya’s illness was developing. A contemporary reported, “the noises in his head and deafness aren’t improving, yet his vision is much better and he is back in control of his balance.” His symptoms may indicate a prolonged viral encephalitis or possibly a series of miniature strokes resulting from high blood pressure and affecting hearing and balance centers in the brain.

Other postmortem diagnostic assessment points toward paranoid dementia due to unknown brain trauma (perhaps due to the unknown illness which he reported). If this is the case, from here on - we see an insidious assault of his faculties, manifesting as paranoid features in his paintings, culminating in his black paintings and especially Saturn Devouring His Sons.

In 1799 he published a series of 80 prints titled Caprichos depicting what he called
“ ...the innumerable foibles and follies to be found in any civilized society, and from the common prejudices and deceitful practices which custom, ignorance, or self-interest have made usual. ”

In The Third of May, 1808: The Execution of the Defenders of Madrid, Goya attempted to "perpetuate by the means of his brush the most notable and heroic actions of our glorious insurrection against the Tyrant of Europe" The painting does not show an incident that Goya witnessed; rather it was meant as more abstract commentary.

Black Paintings and The Disasters

In later life Goya bought a house, called Quinta del Sordo ("Deaf Man's House"), and painted many unusual paintings on canvas and on the walls, including references to witchcraft and war. One of these is the famous work Saturn Devouring His Sons (known informally in some circles as Devoration or Saturn Eats His Child), which displays a Greco-Roman mythological scene of the god Saturn consuming a child, a reference to Spain's ongoing civil conflicts. Moreover, the painting has been seen as "the most essential to our understanding of the human condition in modern times, just as Michelangelo's Sistine ceiling is essential to understanding the tenor of the 16th century".

This painting is one of 14 in a series called the Black Paintings. After his death the wall paintings were transferred to canvas and remain some of the best examples of the later period of Goya's life when, deafened and driven half-mad by what was probably an encephalitis of some kind, he decided to free himself from painterly strictures of the time and paint whatever nightmarish visions came to him. Many of these works are in the Prado museum in Madrid.

In the 1810s, Goya created a set of aquatint prints titled The Disasters of War (Los desastres de la guerra) which depict scenes from the Peninsular War. The scenes are singularly disturbing, sometimes macabre in their depiction of battlefield horror, and represent an outraged conscience in the face of death and destruction. The prints were not published until 1863, 35 years after Goya's death.

Among his pupils were Agustín Esteve.


f**k all art thieves!!!!

Message edited by shako0lp - Wednesday, 2008-01-16, 20:48
shako0lpDate: Wednesday, 2008-01-16, 20:56 | Message # 3
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რაფაელი. ჩემი ერთ–ერთი უსაყვარლესი ხელოვანი!

Birth name Raffaello Sanzio
Born April 6, 1483(1483-04-06)
Urbino, Italy
Died April 6, 1520 (aged 37)
Rome, Italy
Nationality Italian
Field Painting
Training Perugino
Movement Renaissance
Famous works School of Athens

Raphael Sanzio, known as Raphael, or Raphael of Urbino, was born in Urbino on Good Friday 6 April 1483, the son of Magia di Battista di Nicola Ciarla and Giovanni Santi di Pietro. His father was a painter and poet at the court of Frederico da Montefeltre, one of the most famous princes and art patrons of Early Renaissance Italy. Raphael's father was not an outstanding painter, though he was a man of good sense. Raphael started helping out in Santi's studio at a very early age. It is believed that Raphael learnt the fundamentals of art in his father's studio. But it is still unclear where Raphael received his training after this early period in his father's workshop, as Giovanni Santi died in 1494. According to his first biographer Vasari Raphael was apprenticed to Perugino, although there are no sources, which confirm that he worked with Perugino before 1500. Among Raphael's early works, we know about Baronci Altarpiece, which was commissioned in 1501. It was badly damaged in an earthquake in 1789 and only some of its sections survived and now are kept in different collections. All Raphael's surviving works from 1502 to 1504 show Perugino's influence, the most notable are Crucifixion (1502-1503), Coronation of the Virgin (c.1503-1504), Marriage of the Virgin (1504), St. George (c.1504), St. Michael (c.1503-1504), The Three Graces (c.1503-1504), Allegory (The Knight's Dream) (c.1503-1504), Madonna and Child (c.1503), Madonna Connestabile (c.1503-1504). In 1504, Raphael moved to Florence, where he remained until 1508. These years were very important for his development. He studied works of Leonardo da Vinci and Michelangelo there, by which he was greatly influenced. Yet he proved, that his ability to adapt from others what was necessary to his own vision and to reject what was incompatible with it was faultless. In Florence he started his series of Maddonnas, whose charm has captured popular imagination ever since: Madonna del Granduca (c.1505), Madonna of the Meadow (1505 or 1506), Madonna with the Goldfinch (c.1506), La Belle Jardiniere (1507 or 1508). He created several portraits, which also had Leonardo's impact Portrait of Agnolo Doni (c.1506), Portrait of Maddalena Doni (c.1506), Portrait of a Lady with a Unicorn (1505-1506), Portrait of a Pregnant Woman (c. 1506). Other notable pictures from his Florence period are St. George and the Dragon (c.1505-1506), Entombment (1507), St. Catherine (c. 1508), Madonna with the Baldachino (1507-1508). Within four years Raphael had achieved success in Florence and his fame had spread abroad. By the autumn of 1508, he was in Rome and was entrusted by Pope Julius II with the decoration of the Stanze, the new papal apartment in the Vatican Palace, an enormous commission for the 26-year-old artist. It was nevertheless a triumph. The first room Stanza della Segnatura was completed by 1511. This room was probably Julius II's private library and it was decorated in the traditional way of decorating libraries, which went back to the Middle Ages. Each of the four walls was allocated one faculty from the spectrum then available: Theology, Philosophy, Poetry and Jurisprudence (as Justice) and presented as female figures. They all appear in four large tondi on the ceiling. Along the walls are allocated to them the appropriate images of men and women from history who had won fame in each of these fields. The School of Athens (1509) as the depiction of philosophy and Disputa (Disputation over the Sacrament) (1510-1511) as the depiction of theology are a culmination of High Renaissance principles. They stand for the intellectual reconciliation of Christianity and classical antiquity. Both frescos are miracles of harmony, of movement within strict symmetry, of the union of the real and the ideal. The second room was Stanza di Eliodora, named after the main fresco The Expulsion of Heliodorus (c.1512), on which Raphael worked from 1511 till 1514. The general theme of the room is that of God's intervention in human destiny. The third room Stanza dell'Incendio was probably finished by his assistants after his sketches in 1514-1517. Other important commissions in this period include The Triumph of Galatea (c. 1511) for Villa della Farnesina, frescoes for the church of Saint'Agostino, frescoes for the Sala di Costantino and the decoration of Loggie of Vatican Palace. Under the new Pope Leo X Raphael held an important position in the papal court. Besides combining positions of painter, architect (he was Chief Architect of St. Peter's cathedral) and archeologist, he initiated the first comprehensive survey of the antiquities of Rome. Although Raphael's main task during this period was to decorate Stanza, he still found time for a subject, which preoccupied him for a long time: Madonna and Christ Child. He created Madonna Alba (1511-1513), Madonna della Tenda (c. 1512-1514), Madonna della Sedia (1512-1514), Madonna di Foligno (c.1511-1512) and the most famous of all Sistine Madonna (c.1513-1514). The most notable portraits of this period were Portrait of a Cardinal (1510-1511), Portrait of Tommaso Inghirami (c.1511), Portrait of Pope Julius II (c.1512), Portrait of Baldassare Castiglione (c.1514-1516), La Donna Velata (c. 1514-1516), Portrait of Pope Leo X with Cardinals Giulio de' Medici and Luigi de' Rossi (1513-1519). He created 10 cartoons for the tapestries, ordered by Leo X for the Sistine Chapel, 7 of which have survived and now in Victoria and Albert Museum in London. The tapestries themselves were woven by Pieter van Aelst and are now in the Vatican Museums. The Transfiguration (c.1519-1520), was the last work Raphael painted. It was commissioned by Cardinal Giulio de' Medici. Raphael died unexpectedly on Good Friday 6 April 1520. The Transfiguration was complete. Vasari wrote: "He was laid out in the room where he last worked, and at his head hung his painting of the transfigured Christ, which he completed for Cardinal de' Medici. The contrast between the picture, which was so full of life, and the dead body filled everyone who saw it with bitter pain."


f**k all art thieves!!!!

Message edited by shako0lp - Wednesday, 2008-01-16, 20:57
shako0lpDate: Wednesday, 2008-01-16, 21:09 | Message # 4
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ლადო გუდიაშვილი. სერიოზული წვლილი შეიტანა ქართულ ხელოვნებაში და კულტურაში!

Lado Gudiashvili (Georgian: ლადო გუდიაშვილი) (1896–1980) was a 20th century Georgian painter. Gudiashvili was born in Tiflis on March 18 (30), 1896 into a family of a railroad employee. He studied in the Tiflis school of sculpture and fine art (1910-1914), and later in Ronson's private academy in Paris (1919-1926). For a while, Gudiashvili belonged to a group of Georgian poets called "The Blue Horns" (1914-1918), who were trying to connect organically the Georgian national flavor with the creative structure of French symbolism. In Paris, he was a constant customer of the famous "La Ruche," a colony of painters where he met I. Zuloaga, Amedeo Modigliani, Natalia Goncharova, and Mikhail Larionov. Gudiashvili's work was greatly influenced by Niko Pirosmanashvili.

Filled with the charm of Georgian life, the painter's early works combine dramatic grotesque with the charm of poetic mystery ("Live Fish," 1920, Art Museum of Georgia). Closeness to the traditions of old Caucasian and Persian art was amplified upon his return to Georgia in 1926. Gudiashvili's colors become warmer, and the perception of the world as a theater grew stronger (many of Gudiashvili's paintings were either inspired by operas and balles or serve to depict actresses in costumes). Like his compatriots (Grigol Robakidze, Konstantine Gamsakhurdia), Gudiashvili freely used mythological allegories ("The Walk of Seraphita," 1940), the center of which was a graciously beautiful woman imagined as the mysterious "Goddess of the Earth."

Gudiashvili also worked as a monumentalist, painting anew the Kashveti church in Tbilisi in 1946, for which he was expelled from the Communist Party and fired from the Tbilisi academy of fine arts, where he had been teaching since 1926.

In the voluminous "antifascist cycle" of Indian ink drawings Gudiashvili became a kind of "Georgian Goya": beastlike monsters surrounded the ruins of art and naked "goddesses" conveyed the ideas of the death of culture.

Lado Gudiashvili worked also as a book illustrator, cinema and theater decorator. He died on July 20, 1980 in Tbilisi.
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f**k all art thieves!!!!

Message edited by shako0lp - Wednesday, 2008-01-16, 21:10
GeoAdDate: Thursday, 2008-01-17, 22:52 | Message # 5
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რაფაელს ვაღიარებ. მაგარი იყო.

ფეხი დამადგით გულზე ყოველთა
tatia_garciaDate: Thursday, 2008-02-28, 18:31 | Message # 6
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აუ ძალიან გთხოვ რაა სურათები დააპატარავეეეეეეე ძალიან ცუდად დევს დიდი ზომა აქვს ძალიაააააააააანნნნნ


f**k all your fantasy

coldplayDate: Thursday, 2008-10-02, 20:22 | Message # 7
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da vikipediidan ratoa dakopypaistebuli biografiaebi?
da kidev qarTulad ratom ver vpostav? :|

da kidev am mxatvrebis bioebs yvelas ertad sheyras ar jobia calcalke temebi gaixsnas?

Geo Ad™ Forum » Xelovnebis Dargebi » Mxatvroba » cnobili xelovani adamianebis biograpiebi (cnobili mxatvrebis, moqandakeebis da biograpia)
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