daily menu » rate the banner | guess the city | one on oneforums map | privacy policy (aug.2, 2013) | DMCA policy | flipboard magazine

Go Back   SkyscraperCity > European Forums > Euroscrapers > Local discussions > Albanian Forum > Forume Shtesė > Albanologjia

Albanologjia Albanian History, Culture, Folklore, Arts and Language.

Reply
 
Thread Tools
Old August 13th, 2011, 09:50 AM   #1
7t
.......
 
7t's Avatar
 
Join Date: Jun 2006
Location: Tampa Bay
Posts: 5,183

Piktorė tė Shquar | Albanian Painters

Onufri



Onufri was a famous 16th century painter in Albania. He is known for his Christian icons, but he also painted portraits, landscapes and churches. Little is certainly known of Onufri, even his existence only emerged through the works of a Soviet researcher - Viktoria Pusanova - in the early 20th century. He was born in the early 16th century, just after the Ottoman defeat and conquest of Albania. In the climate of the time, the painting of Christian icons can be seen as an act of resistance. He painted in Berat until 1547 and later in Shelcan near Elbasan. After 1554, he lived and painted in the village of Valsh. His works were signed with the title "Protopapa", demonstrating a senior position in the church hierarchy. Onufri is considered to have been innovative. He introduced greater realism and individuality into facial expressions, breaking with the strict conventions of the time. He was the first to introduce a new colour into icon painting, pink, which the French called "Onufri's Red"; the secret of this colour was not passed on and died with Onufri.

Onufri founded a school of painting in Albania, which upon his death, was passed on to his son Nikolla, Onufėr Qiprioti and Konstandin Shpataraku. Many of his paintings are stored and displayed at the Onufri Iconographic Museum in a former church in the old town of Berat. His works are estimated to cost thousands of dollars many of which remain hidden.

Reference: Blumbach, Silke Liria (2001) - The Icon Painter Onufri
7t no está en línea   Reply With Quote

Sponsored Links
 
Old August 13th, 2011, 09:54 AM   #2
7t
.......
 
7t's Avatar
 
Join Date: Jun 2006
Location: Tampa Bay
Posts: 5,183

Holy Mary holding Baby Jesus in her right arm

The work is ascribable to the 16th century iconography of Onofrio. It belongs to the “Hodigitria” type which means the one who shows the way (in Greek Hodos). This icon is attributed to Lica, and was worshipped in a church of Constantinopolis where the “hodeges” or leaders of the way used to meet. Initially the icon was conceived by the painter without the engraved metallic part that covers a part of the background. This is noticed by the cut of the metal, which is damaged along the profiles of the two figures. Another of the icon’s features is that Jesus is found on the left side, and is held in Holy Mary’s right arm. Holy Mary is depicted in the centre and is slightly inclined towards the right, she is wearing a purple tunic which folds are painted correctly and heavily according the Byzantine style. Her serious face has the typical penetrating glance of the tradition of the paleolegenic period.

The decorations with pearls in rhomboid form are placed on the bust and head and have been added at the same time with the silver leaf. Jesus is held in Holy Mary’s arms and is blessing with his right hand while the left holds an open parchment. The dress that Jesus is wearing is the same that he will use in adulthood, while the inner dress is tinted in orange treated in gold. Two angels with hands covered in respect are painted in the upper corners of the icon. The representation of the Hodigitria was the preferred theme in Byzantine and post Byzantine paintings and had a wide expansion. This icon clearly expresses the chromatic features, especially the colour red which makes it noteworthy among the elements of Ecumenical Art. At the bottom part of the icon, there is a frieze of 12 cm with motifs belonging to Islamic Art. These decorations are typical of the Turkish-Arabic nations of the East. The icon is characterized by Onofrio’s specific style and as well by his technique.

http://www.berat.cchnet.it/shede/ico...18.4203916496/

7t no está en línea   Reply With Quote
Old August 13th, 2011, 09:57 AM   #3
7t
.......
 
7t's Avatar
 
Join Date: Jun 2006
Location: Tampa Bay
Posts: 5,183

Saints Teodor Tironi and Teodor Stratilati

Saints Teodor Tironi and Teodor Stratilati were soldier saints of the early Cristian period. Converted to Christianity, they immediately became martyrs. St. Teodor Tironi fell victim of the persecutions of Julian the Apostate during the 4th century, while St. Teodoro Stratilati was a general in the army of the Emperor Licinius. The two martyrs are particularly worshipped in Greece and Russia. A large number of churches are dedicated to them and the iconography always presents them as twins. In this artwork, Onofrio with an intelligent and precise composition represents them facing each other in a way that the believers can see three quarters of their profile. Their heads are turned upwards with their hands towards Jesus, who in dominant position is blessing them. Both saints have shields and short tunics, which distinguishes them as warriors, their weapons are laid on the ground and their staffs form the cross of Christ, from where underneath can be seen their cloaks. To better comprehend the depiction of the theme, the symmetrical composition that the painter has given to the scene must be taken into account. Their diagonal heads respect to the same icon, give an idea that the two saints are detached from the golden background, rendering grandeur and honour to the scene.

The beauty of the icon is given by the variety of colours used for the two saints’ clothes. The greatness of the scene presents the devotion of this characters towards the presence of a strong Ottoman domination in Albania. For this reason the icon has a symbolic role because the characters are personified at the same time as saints. The shields and staffs laid on the ground, testify a moment of prayer to God. The reflection of the details in the scene has been rendered in a way to be understood by the faithful. The icon represents an important example of the past, that has become a model for the present. At first glance, the icon appears to be symmetrical, this impression is given by the legs and the folds of the cloaks. The icon’s composition is divided in two parts, one with a vertical direction where every part is reserved to the strategist. Jesus is depicted in the centre of the top part of the icon, while the inclined bodies of the two saints form a pyramid, on which base there are still saints.

http://www.berat.cchnet.it/shede/ico...19.6259174368/

7t no está en línea   Reply With Quote
Old August 13th, 2011, 10:01 AM   #4
7t
.......
 
7t's Avatar
 
Join Date: Jun 2006
Location: Tampa Bay
Posts: 5,183

Saints Cosimo and Damiano

This icon depicts the Saints Cosimo and Damiano, two brothers who lived in the 3rd century. They were sentenced to death during the period of the Emperor Diocletian’s persecutions. They were two surgeons that never used ask any payment for their services in curing. They are depicted frontally, and are holding in their hands the instruments of their profession, and a box with compartments for the medicine. They are dressed in a stiharion that falls to their feet and a cloak on their shoulders. The halos engraved in the gold background, transform into a green surface in the lower part at the level of their knees. The Lord is blessing them with both hands on their heads surrounded by an almond shaped image the opens the gates of Heaven. On the gold background, the names of the two Saints are written in red. The wooden panel is made by one section, and deformation is protected by two horizontal nailed crosspieces placed on the upper and lower parts. Noticeable in the entire back surface are holes and also visible a light layer of grunt. The surface of the painting was made on the grunt layer that was applied on a canvas tied on the wooden panel. The portraits of the Saints present partial damage near the lower margin where also are visible swellings and detachments of the canvas.

http://www.berat.cchnet.it/shede/ico...20.3539274106/

7t no está en línea   Reply With Quote
Old August 13th, 2011, 10:03 AM   #5
7t
.......
 
7t's Avatar
 
Join Date: Jun 2006
Location: Tampa Bay
Posts: 5,183

The Birth of Christ icon is attributed to his son Nikolla Onufri

The birth of Christ

After the cycle of the Holy Virgin presented in 12 grand Byzantine feasts, the icon of birth starts the cycle of Jesus Christ. This icon is attributed to Nikolla, the son of Onofrio who has worked with his father and has contributed to the school of Berat. The icon comes from the iconostasis of the Cathedral. The scenes under the background of the icon, represent the outer parts of Bethlehem, while depicted in the centre of the composition is the birth of the child in swaddling clothes that seems to come forth from a cave. The figures of the donkey and ox surrounded by darkness, represents the centre that reinforces the imaginary diagonals of the icon in which centre Jesus is found. Near him is Holy Mary resting on an oval red blanket with her head turned towards the child. Underneath is depicted the scene of the three Kings on their horses in direction of the central figure. On the left, visible are the midwives while they are washing their hands and preparing the bath for the child. On the right, Joseph is speaking to a shepherd. Above the scene of the shepherds give the painting a certain kind of romanticism. On the left, a group of angels that in the composition have Jesus as point of reference are depicted. Interesting is the scene of a musician seated on a rock, awaiting to play his flute to celebrate the divine benediction. The composition of the icon is based on the Bible and Byzantine liturgy. For this reason in the same space, the main episodes of Christ’s birth have been grouped: the shepherd’s announcement, the three Kings, the child’s bath and a few other precise and formal features express the liturgic text. The liturgy describes Mary as the Holy Mountain from which Jesus comes forth and the entire icon of birth presents the Holy Virgin on a purple cover at the top of a rock with the covered child near her. This image seems to come forth from the deep of the cave, the Bible defines it as “the passage from darkness to death” of which Jesus comes through victoriously. In this composition, Nikolla Onufri gives a tasteful and refined interpretation. Surrounding the Virgin, who gazes at the child with a touched and scared expression, we find the people which take part of the painter’s daily life. The shepherds are represented as Albanian peasants. The midwives that are preparing the child’s bath are using ceramic jugs with two handles in the use of the 16th century. We see goats and sheep in a landscapes that reminds the southern hills of Albania. Observing attentively the details, the colours render harmony to the scene. The painter respecting the Byzantine iconographic code has achieved a vibrant and original work of art.

http://www.berat.cchnet.it/shede/ico...19.8563714488/

__________________

gjergjkastrioti liked this post
7t no está en línea   Reply With Quote
Old August 13th, 2011, 10:06 AM   #6
7t
.......
 
7t's Avatar
 
Join Date: Jun 2006
Location: Tampa Bay
Posts: 5,183

The following paintings which are all exhibited at the Onufri Iconographic Museum are attributed to no authors.
7t no está en línea   Reply With Quote
Old August 13th, 2011, 10:12 AM   #7
7t
.......
 
7t's Avatar
 
Join Date: Jun 2006
Location: Tampa Bay
Posts: 5,183

E diela e tė verbėrit



Zbritja e shpirtit tė shenjtė mbi Apostujt



Maria Egjiptjane, Kungimi i saj



Lindja e Pagėzorit



Ungjillzimi



Saint Nicholas with scenes of life

7t no está en línea   Reply With Quote
Old August 13th, 2011, 10:15 AM   #8
7t
.......
 
7t's Avatar
 
Join Date: Jun 2006
Location: Tampa Bay
Posts: 5,183

Holy Mary Hodigitria

It belongs to the typology mainly preferred in the Byzantine and post Byzantine Art. It is believed that the first type of this icon was made by Luke and represented Saint Mary holding Jesus in her left arm. She is depicted in frontal position with imposing and majestic stance, her gaze focused on the believers. Even though her expression reveals no intimacy, her right hand with a delicate gesture is pointing towards Baby Jesus. The purple marforion is embroidered by a red strip of cloth that falls around her head and shoulders revealing her hands. Her left hand is delicately holding the child. Baby Jesus is depicted frontally seated on Mary’s left arm with his eyes fixed towards the followers. His left hand is holding a rolled parchment, symbol of knowledge while his right is blessing the people surrounding him. His clothes, a blue chiton and red himatone reveal his barefoot feet. On both sides of Holy Mary’s halo the initials of her name are written in red, while on the halo of Jesus a cross is drawn with above the initials of his name. The wooden panel is engraved in the corners, thus creating the image of a frame with gold background that ends with a red stripe. On the left shoulder of Mary, the word HODIGITRIA (who shows the way) is written. The icon was made on a single wood panel reinforced by two horizontal crosspieces and fixed with nails, undergoing a slight deformation. In all the surface of the wood panel, easily noticeable are the many damaging holes. The lateral sides of the icon have been repaired by adding grunt. Between them iron nails have been fixed and are visible on the painting. The layer of grunt applied on the painting shows a swelling along the lower part, at the corners of the left side and various discolourings. The remaining part is well bound to the wooden panel.

http://www.berat.cchnet.it/shede/ico...19.3908310650/


Last edited by 7t; August 13th, 2011 at 10:26 AM.
7t no está en línea   Reply With Quote
Old August 13th, 2011, 10:18 AM   #9
7t
.......
 
7t's Avatar
 
Join Date: Jun 2006
Location: Tampa Bay
Posts: 5,183

This 18 century painting was made by the great painter of that era Kostantin Shpataraku

Saint Dimitri

It is made in tempera on walnut wood by Konstandin Shpataraku, and comes from the iconostasis of the Church of Saint Ilia in Berat. The figure of the Saint is depicted on the horse in the moment of the death of a warrior (an enemy of the Church), who is holding a broken pole and has the helm on his head. The scene takes place on a hill with trees and rare vegetation. The Saint is wearing short military garments. Red dominates the icon also including the colour red of the horse and fluctuating mantle. The body of the knight has a dynamic movement. The final moment of the blow gives different directions to the figures. The horse and the part of the knight from the waist down, try to go left, while the body, the pole and the head are directed to the opposite side. The figure of the horse together with that of the Saint make the composition a monumental one, in general.

http://www.berat.cchnet.it/shede/ico...23.3972995792/

__________________

gjergjkastrioti liked this post
7t no está en línea   Reply With Quote
Old August 13th, 2011, 10:22 AM   #10
7t
.......
 
7t's Avatar
 
Join Date: Jun 2006
Location: Tampa Bay
Posts: 5,183

Mother of Christ

The icon “Holy Mary with Jesus” belongs to the 16th century and is a work of unknown painters influenced by the Cretan School. It is of “Hodigitria type” (meaning of she who shows the way). In the painting, the bodies of Holy Mary and Jesus except for the face, are covered by a 0.5 mm thick silver foil treated with plastic. It is presumed that the such foil has been applied in a period later than its making. The figure of Holy Mary is turned towards the right, and with her left arm is holding Baby Jesus that is frontal position. The portraits of Holy Mary and Jesus are achieved with strong contrasts of brown and ochre, creating a dramatic effect on the depiction, which is suitable for the Hodigitria features of the icon, where Jesus of the Holy Mary “that shows the way” has an almost imposing posture. His right hand is outstretched towards St. Mary’s hand, while his left is holding a rolled parchment close to him. Concerning the silver covering, the maker of the silver foil could have taken the design (the gestures, the halos as well as the hands) from paintings of that period. It is believed that the artwork is more beautiful without this silver covering.

http://www.berat.cchnet.it/shede/ico...19.7455002674/

7t no está en línea   Reply With Quote
Old August 13th, 2011, 10:28 AM   #11
7t
.......
 
7t's Avatar
 
Join Date: Jun 2006
Location: Tampa Bay
Posts: 5,183

Evangelization

The icon “Evangelization” or also named as “The evangelic salutation” represents not only one episode of the legend, but also the human origin of the life of Jesus. This depiction was very important in the Byzantine world. From a stylistic viewpoint, the icon in question (according to the expert Mustafa Arapi of Tirana) belongs to the 14th century and was made by unknown icon painters. The scene represents Archangel Gabriel that entering in Mary’s house announces “Hail Mary, full of grace may the Lord be with you. You will be with child and give birth to your son named Jesus”. This small sized icon probably belongs to the cycle of icons “of the great Byzantine feasts” of an iconostasis. If this icon is compared to the beautiful gates of Bashtoga preserved in the museum of Korēa, we can ascertain that this iconographic theme undergoes an important evolution in style. In accordance with the style invented by Giotto in Italy during the Gothic period, the Virgin that listens to the words of the Archangel is not standing but is seated on a blue and red cushion, with the body slightly turned and head inclined. She is extending her hand in acceptance of her mission and God’s will. The archangel Gabriel is in movement, with legs and right arm outstretched, and the left arm holding the staff of the messenger inclined towards the shoulder. The position of the body and many other elements express a new dynamism in composition. The architecture in which the scene develops , changes the two-dimensional space of the icon. The figures loose their hierarchy and gain liveliness and activity, that appears in the naturalistic features such as the trees and pines, and in a whole part of the background. In a region characterized by the Orthodox, in a period where the Latin penetration was also felt in Albania. This icon testifies the resistance of the Orthodox towards the Western influence. The unknown painters that have made the iconostasis of the Cathedral of Berat, even though respecting the Byzantine rules seem to know also about the figurative system conceived in Italy, of which they were also inspired. Probably they come from Durazzo, where the school of Kotor acted as a bridge between the Eastern and Western schools. There may have been also another link with a renown icon made around the end of the 14th century with the Church of the Holy Virgin in Ohėr, which is now called St. Clement and another link with an icon found in Prishtina. The Greek letters in red almost disappear leaving visible only “O Kaireteismos”. The salutation above the scene reminds the annunciation of the Archangel. As mentioned also in the text by Myslym Hotovo: “the painting is not rich only of religious elements, but also of those related with daily life painted in vivid colours”. The two main figures are enriched by the architecture of the trees and festive banner, which are elements of the Mannerist iconography of the two centuries prior Onofrio.

http://www.berat.cchnet.it/shede/ico...19.4095342804/

7t no está en línea   Reply With Quote
Old August 13th, 2011, 10:30 AM   #12
7t
.......
 
7t's Avatar
 
Join Date: Jun 2006
Location: Tampa Bay
Posts: 5,183

Holy Mary (Eleusa)

This type pertains to the iconography of Holy Mary with Jesus Child, Eleusa or tenderness (benevolent). It is different from the Hodigitria type as it highlights the human aspect. The depiction is very intimate, with the very natural and mutual gestures of a mother and son. The Eleusa type icon highlights the idea that from the Holy Mary the human Jesus originated. It is a less diffuse icon compared to the Hodigitria type. In this icon Holy Mary is depicted with Jesus Child in her arms while her hands embrace him with love, Jesus touches her forehead with the right hand and with the left he removes the maphorion. Both lay their head on one another with sweetness, the gaze is in front but not fixed. Jesus wears a red chimatone falling from his shoulders, leaving a glimpse of a white tunic (letarione) decorated with rare floral elements, his feet are bare. Holy Mary is wearing a purple maphorion decorated on the sides with strips of gold and shows the green handkerchief that wraps the head and hair, the tunic is decorated. On the gold background of the figure there are the engraved decorations of the aureole, while in both the upper angles the symbols with the name of Holy Mary are red, while on the aureole of Jesus Child there is a cross and further above the name of Jesus Christ (IC-XC). On the forehead and shoulder of Mary gold decorations in the shape of stars, symbols of her virginity, have been decorated. The portraits are painted in brown, while the clothes are made so that they highlight the movements of the folds with changes of colours. The wood panel is made from a unique piece of pine wood, reinforced by two horizontal crosspieces that protect from damaging, near the upper and lower edges nailed by a blacksmith. Behind there are carbon writings and a date 05/12/1960, further below a writing in pencil - Lili Heqimi, while in the middle there are two labels of the inventory made by Th. Popa, M. Baba and Th. Iskali. The painting is made on thin surface. It shows multiple damaging, loss of the left eye and upper lip of Holy Mary, as well as mosaic shaped detachment around them. Also the portrait of Jesus shows damaging on the right, under and around the ear, on the arm and the left leg. Much damaging is noticed on the edges of the paintings and there are signs of damaging of the wood by microorganisms. The repairs have been made on the layer of damaged gold. On the left above Holy Mary’s head, on the left behind Jesus and along the edges the gold layer has been replaced, which was damaged in the shape of a mosaic. In the lower part repairs have been made because of impurities and the presence of salt due to humidity.

http://www.berat.cchnet.it/shede/ico...20.5018799136/

7t no está en línea   Reply With Quote
Old August 13th, 2011, 10:33 AM   #13
7t
.......
 
7t's Avatar
 
Join Date: Jun 2006
Location: Tampa Bay
Posts: 5,183

Jesus Christ Pantocrator

Jesus is depicted frontally on a gold background , standing, blessing with his right hand, and with the left hand he is holding a closed Gospel with red decorated cover. Jesus Christ Pantocrator is wearing a red chiton and green himatone that covers his arm and wraps around his waist. The head is surrounded by a halo with light coloured monograms, while the letters of those at the sides of the head are red. At the shoulders height the red writing: Jesus Christ Pantocrator can be clearly seen. In this icon we note the nobility of the face, the refinement and the delicacy play with contrasts, a contribution of the school managed by Onofrio for Iconographic Art.

http://www.berat.cchnet.it/shede/ico...20.1054551421/

7t no está en línea   Reply With Quote
Old August 13th, 2011, 10:34 AM   #14
7t
.......
 
7t's Avatar
 
Join Date: Jun 2006
Location: Tampa Bay
Posts: 5,183

Saint Theodore

“San Todhri“ (Saint Theodore) It is an iconography of Saint Theodore in the heroic moment of the killing of the dragon. He is depicted in the centre of the composition on a white horse in the moment in which with the his pole hits the dragon. His military gold clothes cover his body turned frontally. The green-azure tunic covers the arms and finishes with a golden strip, while the feet are protected with dark socks. On his back a red cape opens that is tied on his chest, highlighting the portrait and the golden halo of the saint. The portrait of the Saint expresses a calm situation, during action. The big eyes look towards the believers, while the portrait is surrounded by a short beard and thick brown hair. The left hand is around the waist while the right hand above pushes the pole in a very expressive way, that is planted with force into the mouth of the dragon that is located in the final part of the composition. It is introduced in a red purple colour. His body is covered in …., while the four legs end with claws. The long tail rolls in spirals finishing around the first leg of the horse. It has a pair of small wings on the back. The bloody head is turned towards Saint Theodore. The horse is depicted on his back legs in the jumping position. The harness is gold while the straps are red and decorated. The scene is placed in a simple landscape that finishes with a mountainous chain on the background that is ochre. On it green trees are placed one after another. The front part of the background is gilded. On the head of the saint: ODIC FEODėR (Saint Theodore) is written in red surrounded by a red, large strip that is accompanied by the shadow of a white woman. The icon was made with only one piece of wood. Behind two new crosspieces can be noticed, placed in the back part and in the middle of the panel. On the left we notice faces of birds, that go down from the upper angle, towards the lower edge. There are traces caused by rodents, and roundings in the lower angles. The painting was made from a layer of grunt spread very thinly on a canvas. There are signs of restoration. It is tied to the wood panel, except for a sector, that begins from the harness on the chest of the horse up to the dragon’s tail, continuing vertically with the shape of the opening of the grunt and the panel up to the end of this. The drawing engraved on the grunt is well noticeable, it is gilded with an erased part that now shows the red of the grunt. On the gold part even the drawings of the decorations in black are erased. In some parts openings and deletions are noticed on the gold layer. The painting was made painstakingly with a fine brush and has several decorations: trees and other landscapes. The degraded varnish layer has not been removed completely, and leaves signs of its remains on all the surface. After the previous restoration some parts of the painting, the red cape and the head of the horse are feeble due to the lack of varnish.

http://www.berat.cchnet.it/shede/ico...23.2179285545/

7t no está en línea   Reply With Quote
Old August 13th, 2011, 10:35 AM   #15
7t
.......
 
7t's Avatar
 
Join Date: Jun 2006
Location: Tampa Bay
Posts: 5,183

Holy Mary of Tenderness

The depiction of Saint Mary Hodigitria evidenced the divine part, while in this depiction , Saint Maria is with to Jesus Child in a much more intimate attitude that is an exchanging of mutual gestures of affection that natural between a mother and son. This evidences the human part of the creation. In this icon of the 17th century Saint Maria is depicted with a decorated purple maphorion with two strips of gold, that covers her and falls on her shoulders. Under we notice the green handkerchief that wraps her hair and the sleeves of the dress decorated with two strips of gold. She keeps Jesus Child close to her chest with the left hand and with the right she holds his head and at the same time rests her head gently close to the child’s. On the forehead and shoulders there are gold decorations that symbolize the virginity of Mary. While Jesus Christ Emanuel is presented with the head leaning and the feet collected on the arms of the mother. The left hand is leaning on the hand of Mary, while with the right it holds tight the rolled up parchment. The red chimaton with folds drapes him in the lower part, leaving a good glimpse of the blue chiton. The sandals increase more this human part of the scene. The background is gold, the halos are decorated with plant elements and is accompanied by red circles and on the sides of Jesus’ halo there are the initials of his name (IC-XC), while on the two upper angles there are the initials of the name of Mary: MP-OV. The icon has been realized on a unique piece of wood held, because of the deformations, by two horizontal crosspieces placed on the sides and nailed. Behind there are traces of the grunt besides rare holes made by the damagers, while the inferior crosspiece has sponge shaped damages. The surface of the painting has been realized on the layer of the grunt and the parts are well connected between them or the wood panel. There are some little damages in the lower edge made by posthumous nailing. A small loss is noticeable also in the left part near the upper angle. According to the book: ” Toleranca, burim hapėsirės ekumenike dhe and artit ekumenik nė the Berat” the author writes: the Icon “Holy Mary of Tenderness” introduces a new iconographic style, as she represents obvious vital elements. The position of the child embraced by Holy Maria, the style of the forms, of the garments and the details clearly show a new way of depicting that is different from that traditional one.

http://www.berat.cchnet.it/shede/ico...23.4305034641/

7t no está en línea   Reply With Quote
Old August 13th, 2011, 10:37 AM   #16
7t
.......
 
7t's Avatar
 
Join Date: Jun 2006
Location: Tampa Bay
Posts: 5,183

Kolė Idromeno



Kolė Idromeno (1860–1939) was an Albanian painter, sculptor, photographer, architect and engineer. He was born in Shkodėr, where he learned the first elements of photography from Pietro Marubi. In 1876 he stayed for some months at the Academy of Fine Arts in Venice (Accademia di Belle Arti di Venezia), and then worked in the studio of an Italian painter. When back in Albania (1878), he engaged himself in a number of different activities, working as an architect, sculptor, photographer, scene-painter, engineer and painter. He was the initiator of the first art exhibition in Shkodėr (1923) and was represented in the first national art exhibition in Tirana (1931).
He established a very active photographic studio. Idromeno was the first painter to show motion pictures in Albania in 1912. He had kept up a correspondence with the Lumičre brothers in Paris.
His most well known work is Motra Tone. He was the first landscape painter in the modern Albanian painting school (Courtyard of a House in Shkodra) and pioneered realistic secular painting. His works were represented in international exhibitions, for example, in Budapest, Austria–Hungary (1900) and New York, United States (1939). His works are held in the Mezuraj Museum, Tirana.

http://en.wikipedia.org/wiki/Kolė_Idromeno
7t no está en línea   Reply With Quote
Old August 13th, 2011, 10:51 AM   #17
7t
.......
 
7t's Avatar
 
Join Date: Jun 2006
Location: Tampa Bay
Posts: 5,183

Some of Idromeno's masterpieces:

Motra Tone



At Shtjefėn Gjeēovi



Dasma Shkodrane



Pamje nga Ulqini



Portret i Gjuzepinės



Portret Burri

7t no está en línea   Reply With Quote
Old August 13th, 2011, 11:05 AM   #18
7t
.......
 
7t's Avatar
 
Join Date: Jun 2006
Location: Tampa Bay
Posts: 5,183

Zef Kolombi



Albanian painter of Yugoslav birth (1907-1949). He spent his childhood in Shkodėr and graduated from the Accademia di Belle Arti in Rome in 1933. He painted in Elbasan, where he worked as a drawing teacher in the Normal School (1933-45), and in Shkodėr (1945-). Kolombi left 30 oil paintings, which consist of realist landscapes, still-lifes and portraits. His paintings, often executed en plein air, are characterized by a balanced composition and a wealth of colours and tones. They are representative of the development of pre-war Albanian realist art.

http://www.answers.com/topic/zef-kol...#ixzz1UtiZcXux
7t no está en línea   Reply With Quote
Old August 13th, 2011, 11:15 AM   #19
7t
.......
 
7t's Avatar
 
Join Date: Jun 2006
Location: Tampa Bay
Posts: 5,183

Some of Kolombi's best works:

Natyrė e qetė me rrush e pjeshkė



Skėnderbeu nė luftė me persėt, 1927



Rrugė nė Elbasan, 1938



Portret plake, 1937



Portret gruaje, 1937



Peizazh me buaj, 1937



Dy lopė, 1936

7t no está en línea   Reply With Quote
Old August 13th, 2011, 11:18 AM   #20
7t
.......
 
7t's Avatar
 
Join Date: Jun 2006
Location: Tampa Bay
Posts: 5,183

Vangjush Mio



Vangjush Mio (3 March 1891 - 1957) was an Albanian impressionist painter. After years of studying, working and painting, he achieved fame and also the title of People's Artist of Albania.

He was born in Korēė, Albania. In 1908, aged 17, he went to Romania and enrolled in the School of Fine Arts of Bucharest. In 1920, he returned in Albania for a few months and in September 1920 went to Rome where he enrolled at the Fine Arts Royal Institute. He soon abandoned his course for economic reasons. In 1924 he returned again to Rome, finished his studies and graduated.

After finishing school, he opened his first exhibit which was very successful. Mio had a remarkable painting career encompassing 40 years, producing over 400 paintings and 300 sketches. 60 of them can be found in Tirana's National Museum.

http://en.wikipedia.org/wiki/Vangjush_Mio
7t no está en línea   Reply With Quote
Reply

Thread Tools

Posting Rules
You may not post new threads
You may not post replies
You may not post attachments
You may not edit your posts

BB code is On
Smilies are On
[IMG] code is On
HTML code is Off



All times are GMT +2. The time now is 08:03 AM.


Powered by vBulletin® Version 3.8.8 Beta 1
Copyright ©2000 - 2014, vBulletin Solutions, Inc.
Feedback Buttons provided by Advanced Post Thanks / Like v3.2.5 (Pro) - vBulletin Mods & Addons Copyright © 2014 DragonByte Technologies Ltd.

vBulletin Optimisation provided by vB Optimise (Pro) - vBulletin Mods & Addons Copyright © 2014 DragonByte Technologies Ltd.

SkyscraperCity ☆ In Urbanity We trust ☆ about us | privacy policy | DMCA policy

Hosted by Blacksun, dedicated to this site too!
Forum server management by DaiTengu