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Crivelli Caroli Santi Thorn 1476 1494 1961
San Domenico minor Polyptych , 1476 disassembled polyptych by Carlo Crivelli Four Panels from an Altarpiece, Ascoli Piceno, about 1494 - Saint Michael Tempera on poplar, 90.5 x 26.5 cm Saint Jerome Tempera on poplar, 91 × 26 cm Saint Lucy Tempera on lime 91 x 26,5 cm Saint Peter Martyr Tempera on poplar, 90.5 × 26.5 cm The National Gallery, London Madonna col Bambino, 106,5x55,3 cm, firmata OPVS CAROLI CRIVELLI VENETI, tavola, 106,5x56 cm, Szépmüvészeti Múzeum, Budapest La tavola della Madonna col Bambino costituiva, con le quattro figure di Santi conservate alla National Gallery di Londra, un polittico, collocato nella chiesa di San Domenico ad Ascoli Piceno. Erroneamente le quattro tavole erano state montate come terzo registro del polittico Demidoff. In seguito alla scoperta dell'esistenza di due polittici all'interno della chiesa ascolana, realizzati nel medesimo anno da Carlo Crivelli, si è proceduto alla separazione dei quattro pannelli raffiguranti San Girolamo, San Michele Arcangelo, Santa Lucia e San Pietro Martire. Si deve allo Zeri (1961) l'identificazione della "Madonna con Bambino" di Budapest con lo scomparto centrale di questo secondo polittico.( (http•••) Saint Michael This panel of the Archangel Michael fighting the Devil was once part of an altarpiece painted by Crivelli for the church of San Domenico in Ascoli Piceno in the Italian Marche. Michael is shown as a youthful prince, his sword raised with nonchalant ease to strike the writhing devil beneath his feet. At once refined and ferocious, Michael’s pale aristocratic beauty and glittering armour make a vivid contrast to the scaly skin, furred legs and vicious talons of the demon below him. Showing off his talent for foreshortening – distorting objects to make them appear to recede into the picture plane – Crivelli shows us the top of Michael’s and Satan’s heads, as they gaze at each other in eternal combat. He was also a master of three-dimensional effects. Here, the saint’s coronet and armour are modelled to stand out from the flat surface of the panel. (http•••) Saint Jerome This bearded cardinal once stood at the left side of a small altarpiece that Crivelli painted for a side chapel in the church of San Domenico, in Ascoli Piceno in the Italian Marche. This is Saint Jerome, one of the Fathers of the Church and a favourite saint of the Dominican Order as a defender of the Catholic faith against heresy. He is lost in contemplation, gazing down at the small brick church he holds in his left hand. In his right hand he holds a bound book of the Bible, which he had translated into Latin; golden rays emanating from the church’s door and window stand for the light his works cast on Church doctrine. At his feet, a tame lion sits on the edge of his robes, gazing up in trusting expectation and raising its paw, which is pierced by a long thorn; Jerome was supposed to have removed it. (http•••) Saint Lucy This elegant woman is Saint Lucy. She once stood on the Virgin’s left in a small altarpiece which Crivelli painted for a side chapel in the church of San Domenico, in Ascoli Piceno in the Italian Marche. Lucy holds her cactus-like martyr’s palm in one hand, and a circular wooden plate in the other. On the trencher are pair of hooded, oval eyes which cast shadows on the golden wood: Lucy’s eyes were removed as part of her martyrdom (she is now the patron saint of opticians). In a detail typical of Crivelli, her elongated, bony toes in their pointed red sandals poke out over the edge of the marble parapet on which she stands, linking her heavenly space with ours. (http•••) Sain Peter martyr This priest – whose hair has been shaved, or tonsured – once stood on the right side of a small altarpiece which Crivelli painted for the church of San Domenico, in Ascoli Piceno, in the Italian Marche. He is Saint Peter Martyr, the second saint of the Dominican Order, and their first martyr. The falcastro, a long-handled curved knife, with which he was murdered, splits his skull, and a second dagger is buried in his shoulder. His black and white robes stand out powerfully against the burnished gold ground. Crivelli’s skill as a painter of drapery is such that although Peter’s robes are black we can see the deep folds where his hood and cloak fall around his shoulders, and the creases in the tops of his shoes. (http•••)
Johann Speth Noordt Secunda Boeck Georg Böhm Böhm Hess Gabry Chest Winding Bourdon Quint Kirnberger Museum Fine Arts Budapest 1523 1597 1619 1652 1661 1665 1669 1675 1719 1733 1791 1862 1886 1958 1985 1994 1997
Johann Speth (1661- c. 1719) 0:00 Toccata secunda oder zweytes musicalisches Blumen-Feld HW P8, O4, Q3, O2, Tert Ped S16, O8 Fuga: HW -Tertiaan Adagio: HW + B16, Tert, Mix Anthoni van Noordt (c. 1619-1675) Psalm 119 from Tabulatuur-boeck van psalmen en fantasyen (1669) 3:12 Vers I. a 2. In de Bas HW P8 BW Vox 5:15 Vers 3. a 3. Pedaliter HW R8, O4, Q3, Tert BW Q8, F4, P2 Ped S16, O8 7:28 Vers 4. a 3. In de Tenor BW P2, Vox 9:35 Vers 6. a 3. In de Bas HW P8, Q3, Tert Ped T8 11:18 Vers 8. a 4. In de Tenor HW P8 BW H8, F4, Vox, Tremulant Georg Böhm +••.••(...)) 13:55 Praeludium in D minor HW B16, P8, O4, Q3, O2, Tert, Mix Ped B16, O8, O4, T8 HW-Ped 1st fugue: HW O4, T8, Ped B16, O8, O4, T8 2nd fugue: HW + P8, O3, O2, Tert close: HW + B16, Mix Bernard Winsemius, organ of Haarlem, Nieuwe Kerk. Hendrik Hermanus Hess 1791, employing parts from previous small organ in south aisle of the Grote or St. Bavokerk in Haarlem (possibly by Jan van Covelens from 1523) 1862 Hermanus Knipscheer: Borstwerk converted into Bovenwerk, new Ped chests, stoplist altered 1886 G.A.D.J. Gabry: BW chest renewed, stoplist altered 1958 Gebr. van Vulpen: first phase of restoration 1985 Gebr. van Vulpen: technical components reconstructed to 1862 situation; HW and BW chests, action, keyboards and winding renewed 1994 Gebr. van Vulpen: HW Ped Prestant 8', Octaaf 4' and Trompe! 8' renewed 1997 Gebr. van Vulpen: reeds of HW Trompet 8' renewed Hoofdwerk (I) Bourdon 16' (v) Praestant 8' (o/h) Roerfluit 8' (o/v) Octaaf 4' (o) Nachthoorn 4' (o/v) Quint 3' (o) Octaaf 2' (o) Gemshoorn 2' (o/v) Tertiaan 1 3/5' (v) Mixtuur III-IV (h/v) Cornet tr. V (v) Trompet 8' (v/vu) Bovenwerk (II) Holpijp 8' (h/v) Quintadena 8' (o) Fluit 4' (h) Picolo 2 (g) Flageolet 1' (v) Vox Humana 8' (v) Pedaal: (C-d1) Subbas 16' (k) Octaaf 8 (o/vp) Octaaf 4 (o/vp) Trompet 8 (vp) o= before 1791 h = Hess, 1791 k = Knipscheer, 1862 g = Cabry, 1886 v = Van Vulpen, 1985 vp= Van Vulpen, 1994 vu= Van Vulpen, 1997 Couplers: HW-BW, HW-Ped, HW octave coupler in treble Tremulant Manual compass: C-f''' Pedal compass: C-d' Pitch: a'= 415 Hz Tuning: Kirnberger/Bolt Painting: Pieter Jansz. Saenredam (1597–1665), The Nieuwe Kerk in Haarlem (1652). Museum of Fine Arts, Budapest.
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