The Nabis. Albert KostenevitchЧитать онлайн книгу.

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work of Puvis de Chavannes, by no means as daring in colour as the canvases of Manet, Monet or Degas, was destined to become a kind of banner for the following generation of artists. This generation dreamt of murals, of an “eternal” type of art; the young painters were fascinated by the promise which Puvis de Chavannes’ painting held; they saw that contemporary easel painting could stimulate meditation on life, breaking through the realm of purely visual facts. Maurice Denis, who loved to express himself in the language of a manifesto, formulated the aesthetic credo of his milieu in the following way: “We insist on the idea that the visible is a manifestation of the invisible, that forms and colours are indications of the state of our soul.”[11]

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      Примечания

      1

      M. Denis, Théories. 1890–1911, Paris, 1913, p. 162

      2

      Ibid.

      3

      Le Symbolisme en Europe. Rotterdam, Museum Boymans-von Beuningen. Bruxelles, Musées Royaux des Beaux-Arts de Belgique. Baden-Baden, Staatliche Kunsthalle. Paris, Grand Palais, Paris, 1976

      4

      Nabis und Fauves. Zeichnungen, Aquarelle, Pastelle aus Schweizer Privatbesitz. Kunsthaus Zürich. Kunsthaus Bremen. Kunsthalle Bielefeld, Zürich, 1982

      5

      B. Dorival, Les Peintres

Примечания

1

M. Denis, Théories. 1890–1911, Paris, 1913, p. 162

2

Ibid.

3

Le Symbolisme en Europe. Rotterdam, Museum Boymans-von Beuningen. Bruxelles, Musées Royaux des Beaux-Arts de Belgique. Baden-Baden, Staatliche Kunsthalle. Paris, Grand Palais, Paris, 1976

4

Nabis und Fauves. Zeichnungen, Aquarelle, Pastelle aus Schweizer Privatbesitz. Kunsthaus Zürich. Kunsthaus Bremen. Kunsthalle Bielefeld, Zürich, 1982

5

B. Dorival, Les Peintres du XXe siècle, Paris, 1957, p. 16

6

Ibid., p. 17

7

A. Terrasse, Bonnard, Geneva, 1964, p. 54

8

Bonnard, Exhibition Catalogue, Musée de Lyon, Lyon, 1954

9

M. Denis, Journal, vol. 1, Paris, 1957, p. 67

10

A. S. Golubkina, Letters. A Few Words on the Sculptor’s Profession. Reminiscences of Contemporaries, Moscow, 1983, p. 79 (In Russian)

11

M. Denis, Préface du catalogue. L’école de Pont-Avon et les Nabis. 1888–1908. Galerie Parvillé, Paris, 1943, p. 3

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