Gesso Free Stock Images

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Horse, Textile, Art, Creative Arts

Ð¡ÐµÑ€ÐµÐ´Ð¸Ð½Ð° XVII ÑÑ‚. Ð“Ð°Ð»Ð¸Ñ‡Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ñ€Ñ–Ð·ÑŒÐ±Ð»ÐµÐ½Ð½Ñ, Ñ€Ð¸Ñ‚ÑƒÐ²Ð°Ð½Ð½Ñ, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°. 114 Ñ… 85 Ñ… 3. Saint George Killing the Dragon. Mid-17th c. Galychyna. Tempera, silvering, gilding, engraving on gesso-grounded four-piece lime-wood panel, carving. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003. Ð¡ÐµÑ€ÐµÐ´Ð¸Ð½Ð° XVII ÑÑ‚. Ð“Ð°Ð»Ð¸Ñ‡Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ñ€Ñ–Ð·ÑŒÐ±Ð»ÐµÐ½Ð½Ñ, Ñ€Ð¸Ñ‚ÑƒÐ²Ð°Ð½Ð½Ñ, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°. 114 Ñ… 85 Ñ… 3. Saint George Killing the Dragon. Mid-17th c. Galychyna. Tempera, silvering, gilding, engraving on gesso-grounded four-piece lime-wood panel, carving. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003

Textile, Art, Painting, Font

ÃÅ¡Ã‘â€“ÃÂ½. XII - ÃÂ¿ÃÂ¾Ã‘â€¡. XIII Ã‘ÂÃ‘â€š. Ãâ€œÃÂ°ÃÂ»ÃÂ¸Ã‘â€¡ÃÂ¸ÃÂ½ÃÂ°. Ãâ€ÃÂ¾Ã‘Ë†ÃÂºÃÂ° Ã‘â€¦ÃÂ²ÃÂ¾ÃÂ¹ÃÂ½ÃÂ°, ÃÂ»ÃÂµÃÂ²ÃÂºÃÂ°Ã‘Â, Ã‘â€šÃÂµÃÂ¼ÃÂ¿ÃÂµÃ‘â‚¬ÃÂ°. 79 Ã‘â€¦ 47 Ã‘â€¦ 4. The Intercession. Turn of the 13th c. Galychyna. Tempera on gesso-grounded softwood hollowed panel. ÃÂÃÂ°Ã‘â€ Ã‘â€“ÃÂ¾ÃÂ½ÃÂ°ÃÂ»Ã‘Å’ÃÂ½ÃÂ¸ÃÂ¹ Ã‘â€¦Ã‘Æ’ÃÂ´ÃÂ¾ÃÂ¶ÃÂ½Ã‘â€“ÃÂ¹ ÃÂ¼Ã‘Æ’ÃÂ·ÃÂµÃÂ¹ ÃÂ£ÃÂºÃ‘â‚¬ÃÂ°Ã‘â€”ÃÂ½ÃÂ¸. ÃÂÃÂ»Ã‘Å’ÃÂ±ÃÂ¾ÃÂ¼. ÃÅ¡ÃÂ¸Ã‘â€”ÃÂ², "ÃÂÃ‘â‚¬Ã‘â€šÃÂ°ÃÂ½Ã‘â€“Ã‘Â ÃÂÃÂ¾ÃÂ²ÃÂ°", 2003 *ÃÂ¨ÃÂ°ÃÂ½ÃÂ¾ÃÂ²ÃÂ½Ã‘â€“ ÃÂ²Ã‘â€“ÃÂºÃ‘â€“ÃÂ¿ÃÂµÃÂ´Ã‘â€“ÃÂ¹Ã‘â€ Ã‘â€“, ÃÂ±Ã‘Æ’ÃÂ´ÃÂµÃ‘â€šÃÂµ Ã‘â€ Ã‘Å’ÃÂ¾ÃÂ³ÃÂ¾ Ã‘â‚¬ÃÂ°ÃÂ·Ã‘Æ’ ÃÂ±Ã‘â‚¬ÃÂ°Ã‘â€šÃÂ¸ Ã‘ÂÃÂºÃÂ°ÃÂ½ÃÂ¸ - ÃÂ²ÃÂºÃÂ°ÃÂ·Ã‘Æ’ÃÂ¹Ã‘â€šÃÂµ, ÃÂ·ÃÂ²Ã‘â€“ÃÂ´ÃÂºÃÂ¸ ÃÂ²ÃÂ¾ÃÂ½ÃÂ¸. ÃÂÃÂ°ÃÂ±Ã‘â‚¬ÃÂ¸ÃÂ´ÃÂ»ÃÂ¾ ÃÂ±ÃÂ°Ã‘â€¡ÃÂ¸Ã‘â€šÃÂ¸, Ã‘ÂÃÂº ÃÂ²ÃÂ¸ ÃÂ·ÃÂ°ÃÂ±Ã‘Æ’ÃÂ²ÃÂ°Ã‘â€Ã‘â€šÃÂµ Ã‘â€ ÃÂµ Ã‘â‚¬ÃÂ¾ÃÂ±ÃÂ¸Ã‘â€šÃÂ¸. ÃÅ¡Ã‘â€“ÃÂ½. XII - ÃÂ¿ÃÂ¾Ã‘â€¡. XIII Ã‘ÂÃ‘â€š. Ãâ€œÃÂ°ÃÂ»ÃÂ¸Ã‘â€¡ÃÂ¸ÃÂ½ÃÂ°. Ãâ€ÃÂ¾Ã‘Ë†ÃÂºÃÂ° Ã‘â€¦ÃÂ²ÃÂ¾ÃÂ¹ÃÂ½ÃÂ°, ÃÂ»ÃÂµÃÂ²ÃÂºÃÂ°Ã‘Â, Ã‘â€šÃÂµÃÂ¼ÃÂ¿ÃÂµÃ‘â‚¬ÃÂ°. 79 Ã‘â€¦ 47 Ã‘â€¦ 4. The Intercession. Turn of the 13th c. Galychyna. Tempera on gesso-grounded softwood hollowed panel. ÃÂÃÂ°Ã‘â€ Ã‘â€“ÃÂ¾ÃÂ½ÃÂ°ÃÂ»Ã‘Å’ÃÂ½ÃÂ¸ÃÂ¹ Ã‘â€¦Ã‘Æ’ÃÂ´ÃÂ¾ÃÂ¶ÃÂ½Ã‘â€“ÃÂ¹ ÃÂ¼Ã‘Æ’ÃÂ·ÃÂµÃÂ¹ ÃÂ£ÃÂºÃ‘â‚¬ÃÂ°Ã‘â€”ÃÂ½ÃÂ¸. ÃÂÃÂ»Ã‘Å’ÃÂ±ÃÂ¾ÃÂ¼. ÃÅ¡ÃÂ¸Ã‘â€”ÃÂ², "ÃÂÃ‘â‚¬Ã‘â€šÃÂ°ÃÂ½Ã‘â€“Ã‘Â ÃÂÃÂ¾ÃÂ²ÃÂ°", 2003 *ÃÂ¨ÃÂ°ÃÂ½ÃÂ¾ÃÂ²ÃÂ½Ã‘â€“ ÃÂ²Ã‘â€“ÃÂºÃ‘â€“ÃÂ¿ÃÂµÃÂ´Ã‘â€“ÃÂ¹Ã‘â€ Ã‘â€“, ÃÂ±Ã‘Æ’ÃÂ´ÃÂµÃ‘â€šÃÂµ Ã‘â€ Ã‘Å’ÃÂ¾ÃÂ³ÃÂ¾ Ã‘â‚¬ÃÂ°ÃÂ·Ã‘Æ’ ÃÂ±Ã‘â‚¬ÃÂ°Ã‘â€šÃÂ¸ Ã‘ÂÃÂºÃÂ°ÃÂ½ÃÂ¸ - ÃÂ²ÃÂºÃÂ°ÃÂ·Ã‘Æ’ÃÂ¹Ã‘â€šÃÂµ, ÃÂ·ÃÂ²Ã‘â€“ÃÂ´ÃÂºÃÂ¸ ÃÂ²ÃÂ¾ÃÂ½ÃÂ¸. ÃÂÃÂ°ÃÂ±Ã‘â‚¬ÃÂ¸ÃÂ´ÃÂ»ÃÂ¾ ÃÂ±ÃÂ°Ã‘â€¡ÃÂ¸Ã‘â€šÃÂ¸, Ã‘ÂÃÂº ÃÂ²ÃÂ¸ ÃÂ·ÃÂ°ÃÂ±Ã‘Æ’ÃÂ²ÃÂ°Ã‘â€Ã‘â€šÃÂµ Ã‘â€ ÃÂµ Ã‘â‚¬ÃÂ¾ÃÂ±ÃÂ¸Ã‘â€šÃÂ¸.

Donkey

Isolated plaster blue happy donkey

Dress, Art, Religious Item, Cope

1730-Ã‘â€šÃ‘â€“ Ã‘â‚¬Ã‘â‚¬. ÃÅ¸ÃÂ¾ÃÂ»Ã‘â€šÃÂ°ÃÂ²Ã‘â€°ÃÂ¸ÃÂ½ÃÂ°. Ãâ€ÃÂ¾Ã‘Ë†ÃÂºÃÂ° ÃÂ»ÃÂ¸ÃÂ¿ÃÂ¾ÃÂ²ÃÂ°, Ã‘â€šÃÂµÃÂ¼ÃÂ¿ÃÂµÃ‘â‚¬ÃÂ°, ÃÂ¾ÃÂ»Ã‘â€“Ã‘Â, ÃÂ¿ÃÂ¾ÃÂ·ÃÂ¾ÃÂ»ÃÂ¾Ã‘â€šÃÂ°, ÃÂ½ÃÂ° ÃÂ¾ÃÂ±Ã‘â‚¬ÃÂ°ÃÂ¼ÃÂ»ÃÂµÃÂ½ÃÂ½Ã‘â€“ Ã‘ÂÃ‘â‚¬Ã‘â€“ÃÂ±ÃÂ»ÃÂµÃÂ½ÃÂ½Ã‘Â. 118 Ã‘â€¦ 85 Ã‘â€¦ 11,5. The Intercession. 1730s. Poltavshchyna. Tempera, oil, gilding on gesso-grounded two-piece lime-wood panel, silvering on the framing. ÃÂÃÂ°Ã‘â€ Ã‘â€“ÃÂ¾ÃÂ½ÃÂ°ÃÂ»Ã‘Å’ÃÂ½ÃÂ¸ÃÂ¹ Ã‘â€¦Ã‘Æ’ÃÂ´ÃÂ¾ÃÂ¶ÃÂ½Ã‘â€“ÃÂ¹ ÃÂ¼Ã‘Æ’ÃÂ·ÃÂµÃÂ¹ ÃÂ£ÃÂºÃ‘â‚¬ÃÂ°Ã‘â€”ÃÂ½ÃÂ¸. ÃÂÃÂ»Ã‘Å’ÃÂ±ÃÂ¾ÃÂ¼. ÃÅ¡ÃÂ¸Ã‘â€”ÃÂ², "ÃÂÃ‘â‚¬Ã‘â€šÃÂ°ÃÂ½Ã‘â€“Ã‘Â ÃÂÃÂ¾ÃÂ²ÃÂ°", 2003. 1730-Ã‘â€šÃ‘â€“ Ã‘â‚¬Ã‘â‚¬. ÃÅ¸ÃÂ¾ÃÂ»Ã‘â€šÃÂ°ÃÂ²Ã‘â€°ÃÂ¸ÃÂ½ÃÂ°. Ãâ€ÃÂ¾Ã‘Ë†ÃÂºÃÂ° ÃÂ»ÃÂ¸ÃÂ¿ÃÂ¾ÃÂ²ÃÂ°, Ã‘â€šÃÂµÃÂ¼ÃÂ¿ÃÂµÃ‘â‚¬ÃÂ°, ÃÂ¾ÃÂ»Ã‘â€“Ã‘Â, ÃÂ¿ÃÂ¾ÃÂ·ÃÂ¾ÃÂ»ÃÂ¾Ã‘â€šÃÂ°, ÃÂ½ÃÂ° ÃÂ¾ÃÂ±Ã‘â‚¬ÃÂ°ÃÂ¼ÃÂ»ÃÂµÃÂ½ÃÂ½Ã‘â€“ Ã‘ÂÃ‘â‚¬Ã‘â€“ÃÂ±ÃÂ»ÃÂµÃÂ½ÃÂ½Ã‘Â. 118 Ã‘â€¦ 85 Ã‘â€¦ 11,5. The Intercession. 1730s. Poltavshchyna. Tempera, oil, gilding on gesso-grounded two-piece lime-wood panel, silvering on the framing. ÃÂÃÂ°Ã‘â€ Ã‘â€“ÃÂ¾ÃÂ½ÃÂ°ÃÂ»Ã‘Å’ÃÂ½ÃÂ¸ÃÂ¹ Ã‘â€¦Ã‘Æ’ÃÂ´ÃÂ¾ÃÂ¶ÃÂ½Ã‘â€“ÃÂ¹ ÃÂ¼Ã‘Æ’ÃÂ·ÃÂµÃÂ¹ ÃÂ£ÃÂºÃ‘â‚¬ÃÂ°Ã‘â€”ÃÂ½ÃÂ¸. ÃÂÃÂ»Ã‘Å’ÃÂ±ÃÂ¾ÃÂ¼. ÃÅ¡ÃÂ¸Ã‘â€”ÃÂ², "ÃÂÃ‘â‚¬Ã‘â€šÃÂ°ÃÂ½Ã‘â€“Ã‘Â ÃÂÃÂ¾ÃÂ²ÃÂ°", 2003.

Beard, Textile, Painting, Art

ÃÅ¾Ã‘ÂÃ‘â€šÃÂ°ÃÂ½ÃÂ½Ã‘Â Ã‘â€¡ÃÂ²ÃÂµÃ‘â‚¬Ã‘â€šÃ‘Å’ XVI Ã‘ÂÃ‘â€š. Ãâ€œÃÂ°ÃÂ»ÃÂ¸Ã‘â€¡ÃÂ¸ÃÂ½ÃÂ°. Ãâ€ÃÂ¾Ã‘Ë†ÃÂºÃÂ° ÃÂ»ÃÂ¸ÃÂ¿ÃÂ¾ÃÂ²ÃÂ°, ÃÂ»ÃÂµÃÂ²ÃÂºÃÂ°Ã‘Â, Ã‘â€šÃÂµÃÂ¼ÃÂ¿ÃÂµÃ‘â‚¬ÃÂ°, Ã‘â€šÃÂ¸Ã‘ÂÃÂ½ÃÂµÃÂ½ÃÂ½Ã‘Â, Ã‘ÂÃ‘â‚¬Ã‘â€“ÃÂ±ÃÂ»ÃÂµÃÂ½ÃÂ½Ã‘Â. 51 Ã‘â€¦ 79 Ã‘â€¦ 3. The Vernicle. Last quarter of the 16th c. Galychyna. Tempera, silvering on gesso-grounded two-piece hollowed lime-wood panel, stamping. ÃÂÃÂ°Ã‘â€ Ã‘â€“ÃÂ¾ÃÂ½ÃÂ°ÃÂ»Ã‘Å’ÃÂ½ÃÂ¸ÃÂ¹ Ã‘â€¦Ã‘Æ’ÃÂ´ÃÂ¾ÃÂ¶ÃÂ½Ã‘â€“ÃÂ¹ ÃÂ¼Ã‘Æ’ÃÂ·ÃÂµÃÂ¹ ÃÂ£ÃÂºÃ‘â‚¬ÃÂ°Ã‘â€”ÃÂ½ÃÂ¸. ÃÂÃÂ»Ã‘Å’ÃÂ±ÃÂ¾ÃÂ¼. ÃÅ¡ÃÂ¸Ã‘â€”ÃÂ², "ÃÂÃ‘â‚¬Ã‘â€šÃÂ°ÃÂ½Ã‘â€“Ã‘Â ÃÂÃÂ¾ÃÂ²ÃÂ°", 2003. Ãâ€ºÃÂµÃÂ² ÃÂ¡ÃÂºÃÂ¾ÃÂ¿, Ã‘â€¦Ã‘Æ’ÃÂ´ÃÂ¾ÃÂ¶ÃÂ½ÃÂ¸ÃÂº, ÃÂ¼ÃÂ¸Ã‘ÂÃ‘â€šÃÂµÃ‘â€ Ã‘â€šÃÂ²ÃÂ¾ÃÂ·ÃÂ½ÃÂ°ÃÂ²ÃÂµÃ‘â€ Ã‘Å’, Ã‘â‚¬ÃÂµÃ‘ÂÃ‘â€šÃÂ°ÃÂ²Ã‘â‚¬ÃÂ°Ã‘â€šÃÂ¾Ã‘â‚¬ Ã‘â€šÃÂ° ÃÂ´ÃÂ¾Ã‘ÂÃÂ»Ã‘â€“ÃÂ´ÃÂ½ÃÂ¸ÃÂº Ã‘Æ’ÃÂºÃ‘â‚¬ÃÂ°Ã‘â€”ÃÂ½Ã‘ÂÃ‘Å’ÃÂºÃÂ¾ÃÂ³ÃÂ¾ Ã‘â€“ÃÂºÃÂ¾ÃÂ½ÃÂ¾ÃÂ¿ÃÂ¸Ã‘ÂÃ‘Æ’, ÃÂ½ÃÂ°ÃÂ·ÃÂ¸ÃÂ²ÃÂ°Ã‘â€ ÃÂ°ÃÂ²Ã‘â€šÃÂ¾Ã‘â‚¬ÃÂ¾ÃÂ¼ Ã‘â€ Ã‘â€“Ã‘â€Ã‘â€” Ã‘â€“ÃÂºÃÂ¾ÃÂ½ÃÂ¸ ÃÂ¤ÃÂµÃÂ´Ã‘Æ’Ã‘ÂÃÂºÃÂ°, ÃÂ¼ÃÂ°ÃÂ»Ã‘ÂÃ‘â‚¬ÃÂ° ÃÂ· ÃÂ¡ÃÂ°ÃÂ¼ÃÂ±ÃÂ¾Ã‘â‚¬ÃÂ°. ÃÂ¡ÃÂºÃÂ¾ÃÂ¿ Ãâ€º.ÃÂ. ÃÅ“ÃÂ°ÃÂ¹Ã‘ÂÃ‘â€šÃÂµÃ‘â‚¬ ÃÂ¼Ã‘â€“ÃÂ½Ã‘â€“ÃÂ°Ã‘â€šÃ‘Å½Ã‘â‚¬ ÃÅ¸ÃÂµÃ‘â‚¬ÃÂµÃ‘ÂÃÂ¾ÃÂ¿ÃÂ½ÃÂ¸Ã‘â€ Ã‘Å’ÃÂºÃÂ¾ÃÂ³ÃÂ¾ Ãâ€žÃÂ²ÃÂ°ÃÂ½ÃÂ³ÃÂµÃÂ»Ã‘â€“Ã‘Â - ÃÂ¤ÃÂµÃÂ´Ã‘Æ’Ã‘ÂÃÂºÃÂ¾, ÃÂ¼ÃÂ°ÃÂ»Ã‘ÂÃ‘â‚¬ ÃÂ·Ã‘â€“ ÃÂ¡ÃÂ°ÃÂ¼ÃÂ±ÃÂ¾Ã‘â‚¬ÃÂ°. - Ãâ€Ã‘â‚¬ÃÂ¾ÃÂ³ÃÂ¾ÃÂ±ÃÂ¸Ã‘â€¡: ÃÅ¡ÃÂ¾ÃÂ»ÃÂ¾, 2011. - Ã‘Â. 25. ÃÅ¾Ã‘ÂÃ‘â€šÃÂ°ÃÂ½ÃÂ½Ã‘Â Ã‘â€¡ÃÂ²ÃÂµÃ‘â‚¬Ã‘â€šÃ‘Å’ XVI Ã‘ÂÃ‘â€š. Ãâ€œÃÂ°ÃÂ»ÃÂ¸Ã‘â€¡ÃÂ¸ÃÂ½ÃÂ°. Ãâ€ÃÂ¾Ã‘Ë†ÃÂºÃÂ° ÃÂ»ÃÂ¸ÃÂ¿ÃÂ¾ÃÂ²ÃÂ°, ÃÂ»ÃÂµÃÂ²ÃÂºÃÂ°Ã‘Â, Ã‘â€šÃÂµÃÂ¼ÃÂ¿ÃÂµÃ‘â‚¬ÃÂ°, Ã‘â€šÃÂ¸Ã‘ÂÃÂ½ÃÂµÃÂ½ÃÂ½Ã‘Â, Ã‘ÂÃ‘â‚¬Ã‘â€“ÃÂ±ÃÂ»ÃÂµÃÂ½ÃÂ½Ã‘Â. 51 Ã‘â€¦ 79 Ã‘â€¦ 3. The Vernicle. Last quarter of the 16th c. Galychyna. Tempera, silvering on gesso-grounded two-piece hollowed lime-wood panel, stamping. ÃÂÃÂ°Ã‘â€ Ã‘â€“ÃÂ¾ÃÂ½ÃÂ°ÃÂ»Ã‘Å’ÃÂ½ÃÂ¸ÃÂ¹ Ã‘â€¦Ã‘Æ’ÃÂ´ÃÂ¾ÃÂ¶ÃÂ½Ã‘â€“ÃÂ¹ ÃÂ¼Ã‘Æ’ÃÂ·ÃÂµÃÂ¹ ÃÂ£ÃÂºÃ‘â‚¬ÃÂ°Ã‘â€”ÃÂ½ÃÂ¸. ÃÂÃÂ»Ã‘Å’ÃÂ±ÃÂ¾ÃÂ¼. ÃÅ¡ÃÂ¸Ã‘â€”ÃÂ², "ÃÂÃ‘â‚¬Ã‘â€šÃÂ°ÃÂ½Ã‘â€“Ã‘Â ÃÂÃÂ¾ÃÂ²ÃÂ°", 2003. Ãâ€ºÃÂµÃÂ² ÃÂ¡ÃÂºÃÂ¾ÃÂ¿, Ã‘â€¦Ã‘Æ’ÃÂ´ÃÂ¾ÃÂ¶ÃÂ½ÃÂ¸ÃÂº, ÃÂ¼ÃÂ¸Ã‘ÂÃ‘â€šÃÂµÃ‘â€ Ã‘â€šÃÂ²ÃÂ¾ÃÂ·ÃÂ½ÃÂ°ÃÂ²ÃÂµÃ‘â€ Ã‘Å’, Ã‘â‚¬ÃÂµÃ‘ÂÃ‘â€šÃÂ°ÃÂ²Ã‘â‚¬ÃÂ°Ã‘â€šÃÂ¾Ã‘â‚¬ Ã‘â€šÃÂ° ÃÂ´ÃÂ¾Ã‘ÂÃÂ»Ã‘â€“ÃÂ´ÃÂ½ÃÂ¸ÃÂº Ã‘Æ’ÃÂºÃ‘â‚¬ÃÂ°Ã‘â€”ÃÂ½Ã‘ÂÃ‘Å’ÃÂºÃÂ¾ÃÂ³ÃÂ¾ Ã‘â€“ÃÂºÃÂ¾ÃÂ½ÃÂ¾ÃÂ¿ÃÂ¸Ã‘ÂÃ‘Æ’, ÃÂ½ÃÂ°ÃÂ·ÃÂ¸ÃÂ²ÃÂ°Ã‘â€ ÃÂ°ÃÂ²Ã‘â€šÃÂ¾Ã‘â‚¬ÃÂ¾ÃÂ¼ Ã‘â€ Ã‘â€“Ã‘â€Ã‘â€” Ã‘â€“ÃÂºÃÂ¾ÃÂ½ÃÂ¸ ÃÂ¤ÃÂµÃÂ´Ã‘Æ’Ã‘ÂÃÂºÃÂ°, ÃÂ¼ÃÂ°ÃÂ»Ã‘ÂÃ‘â‚¬ÃÂ° ÃÂ· ÃÂ¡ÃÂ°ÃÂ¼ÃÂ±ÃÂ¾Ã‘â‚¬ÃÂ°. ÃÂ¡ÃÂºÃÂ¾ÃÂ¿ Ãâ€º.ÃÂ. ÃÅ“ÃÂ°ÃÂ¹Ã‘ÂÃ‘â€šÃÂµÃ‘â‚¬ ÃÂ¼Ã‘â€“ÃÂ½Ã‘â€“ÃÂ°Ã‘â€šÃ‘Å½Ã‘â‚¬ ÃÅ¸ÃÂµÃ‘â‚¬ÃÂµÃ‘ÂÃÂ¾ÃÂ¿ÃÂ½ÃÂ¸Ã‘â€ Ã‘Å’ÃÂºÃÂ¾ÃÂ³ÃÂ¾ Ãâ€žÃÂ²ÃÂ°ÃÂ½ÃÂ³ÃÂµÃÂ»Ã‘â€“Ã‘Â - ÃÂ¤ÃÂµÃÂ´Ã‘Æ’Ã‘ÂÃÂºÃÂ¾, ÃÂ¼ÃÂ°ÃÂ»Ã‘ÂÃ‘â‚¬ ÃÂ·Ã‘â€“ ÃÂ¡ÃÂ°ÃÂ¼ÃÂ±ÃÂ¾Ã‘â‚¬ÃÂ°. - Ãâ€Ã‘â‚¬ÃÂ¾ÃÂ³ÃÂ¾ÃÂ±ÃÂ¸Ã‘â€¡: ÃÅ¡ÃÂ¾ÃÂ»ÃÂ¾, 2011. - Ã‘Â. 25.

Sleeve, Art, Painting, Vintage Clothing

ÐšÑ–Ð½ÐµÑ†ÑŒ XVII ÑÑ‚. Ð’Ð¾Ð»Ð¸Ð½ÑŒ. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ð¾Ð»Ñ–Ñ, Ñ€Ñ–Ð·ÑŒÐ±Ð»ÐµÐ½Ð½Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°. 101 Ñ… 62 Ñ… 3. Saints Volodymyr, Borys and Glib. Late 17th c. Volyn. Tempera, oil, gilding on gesso-grounded two-piece lime-wood panel, carving. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003. ÐšÑ–Ð½ÐµÑ†ÑŒ XVII ÑÑ‚. Ð’Ð¾Ð»Ð¸Ð½ÑŒ. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ð¾Ð»Ñ–Ñ, Ñ€Ñ–Ð·ÑŒÐ±Ð»ÐµÐ½Ð½Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°. 101 Ñ… 62 Ñ… 3. Saints Volodymyr, Borys and Glib. Late 17th c. Volyn. Tempera, oil, gilding on gesso-grounded two-piece lime-wood panel, carving. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003.

The Chalk Vein

The Chalk Vein of Apennines

Ð¡apitel

Capital carved with gold leaf. Three different angles for easy use. Capital carved with gold leaf. Three different angles for easy use.

Textile, Painting, Art, Religious Item

Ð¡ÐµÑ€ÐµÐ´Ð¸Ð½Ð° XVIII ÑÑ‚. ÐŸÐ¾Ð»Ñ‚Ð°Ð²Ñ‰Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ð¾Ð»Ñ–Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°. 101 Ñ… 67 Ñ… 4,5 (Ð² Ð¾Ð±Ñ€Ð°Ð¼Ð»ÐµÐ½Ð½Ñ–). The Nativity. Mid-18th c. Poltavshchyna. Oil, tempera, gilding on gesso-grounded two-piece lime-wood panel. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003. Ð¡ÐµÑ€ÐµÐ´Ð¸Ð½Ð° XVIII ÑÑ‚. ÐŸÐ¾Ð»Ñ‚Ð°Ð²Ñ‰Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ð¾Ð»Ñ–Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°. 101 Ñ… 67 Ñ… 4,5 (Ð² Ð¾Ð±Ñ€Ð°Ð¼Ð»ÐµÐ½Ð½Ñ–). The Nativity. Mid-18th c. Poltavshchyna. Oil, tempera, gilding on gesso-grounded two-piece lime-wood panel. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003.

Human Body, Textile, Temple, Art

ÐžÑÑ‚Ð°Ð½Ð½Ñ Ñ‡Ð²ÐµÑ€Ñ‚ÑŒ XVI ÑÑ‚. Ð“Ð°Ð»Ð¸Ñ‡Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ, Ñ‚Ð¸ÑÐ½ÐµÐ½Ð½Ñ Ð½Ð° Ð¿Ð¾Ð»ÑÑ…. 42 Ñ… 32 Ñ… 2. The Nativity. Last quarter of the 16th c. Galychyna. Tempera, silvering on gesso-grounded canvas pasted to hollowed lime-wood panel, border stamping. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003. ÐžÑÑ‚Ð°Ð½Ð½Ñ Ñ‡Ð²ÐµÑ€Ñ‚ÑŒ XVI ÑÑ‚. Ð“Ð°Ð»Ð¸Ñ‡Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ, Ñ‚Ð¸ÑÐ½ÐµÐ½Ð½Ñ Ð½Ð° Ð¿Ð¾Ð»ÑÑ…. 42 Ñ… 32 Ñ… 2. The Nativity. Last quarter of the 16th c. Galychyna. Tempera, silvering on gesso-grounded canvas pasted to hollowed lime-wood panel, border stamping. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003

Hair, Religious Item, Artifact, Art

1765. ÐšÐ¸Ñ—Ð²Ñ‰Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ñ€Ñ–Ð·ÑŒÐ±Ð»ÐµÐ½Ð½Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°. 80 Ñ… 45 Ñ… 2. The Virgin of CzÄ™stochowa. 1765. Kyivshchyna. Tempera, gilding on gesso-grounded two-piece lime-wood panel, carving. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003. 1765. ÐšÐ¸Ñ—Ð²Ñ‰Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ñ€Ñ–Ð·ÑŒÐ±Ð»ÐµÐ½Ð½Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°. 80 Ñ… 45 Ñ… 2. The Virgin of CzÄ™stochowa. 1765. Kyivshchyna. Tempera, gilding on gesso-grounded two-piece lime-wood panel, carving. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003.

Contemporary sitting room

The 3d rendering indoor sitting room. The 3d rendering indoor sitting room

The Chalk Vein

The Chalk Vein of Apennines

Brown, Wood, Artifact, Art

XI Ã‘ÂÃ‘â€š. (?). Ãâ€™Ã‘â€“ÃÂ·ÃÂ°ÃÂ½Ã‘â€šÃ‘â€“Ã‘Â. Ãâ€ÃÂµÃ‘â‚¬ÃÂµÃÂ²ÃÂ¾, ÃÂ»ÃÂµÃÂ²ÃÂºÃÂ°Ã‘Â, ÃÂ¿ÃÂ¾ÃÂ»Ã‘â€“Ã‘â€¦Ã‘â‚¬ÃÂ¾ÃÂ¼Ã‘â€“Ã‘Â ÃÂºÃÂ»ÃÂµÃÂ¹ÃÂ¾ÃÂ²ÃÂ¾Ã‘Å½ Ã‘â€šÃÂµÃÂ¼ÃÂ¿ÃÂµÃ‘â‚¬ÃÂ¾Ã‘Å½, ÃÂ¿ÃÂ¾ÃÂ·ÃÂ¾ÃÂ»ÃÂ¾Ã‘â€šÃÂ°, ÃÂ±ÃÂ°Ã‘â‚¬ÃÂµÃÂ»Ã‘Å’Ã‘â€Ã‘â€ž. 107 Ã‘â€¦ 82 Ã‘â€¦ 7,5 (ÃÂ² ÃÂºÃ‘â€“ÃÂ¾Ã‘â€šÃ‘â€“). Saint George with Scenes from his Life. 11th c. (?). Byzantine state. Sized tempera, gilding on gesso-grounded panel, bas-relief. ...ÃÅ¸Ã‘â‚¬ÃÂ¾ÃÂ²Ã‘â€“ÃÂ´ÃÂ½ÃÂµ ÃÂ¼Ã‘â€“Ã‘ÂÃ‘â€ ÃÂµ ÃÂ² Ã‘ÂÃÂµÃ‘â‚¬ÃÂµÃÂ´ÃÂ½Ã‘Å’ÃÂ¾ÃÂ²Ã‘â€“Ã‘â€¡ÃÂ½ÃÂ¾ÃÂ¼Ã‘Æ’ ÃÂ¼ÃÂ¸Ã‘ÂÃ‘â€šÃÂµÃ‘â€ Ã‘â€šÃÂ²Ã‘â€“ ÃÂ½ÃÂ°ÃÂ»ÃÂµÃÂ¶ÃÂ°ÃÂ»ÃÂ¾ Ã‘â€“ÃÂºÃÂ¾ÃÂ½ÃÂ¾ÃÂ¿ÃÂ¸Ã‘ÂÃ‘Æ’, Ã‘â€°ÃÂ¾ ÃÂ¼ÃÂ°ÃÂ² ÃÂ´ÃÂ°ÃÂ²ÃÂ½Ã‘â€“ Ã‘â€šÃ‘â‚¬ÃÂ°ÃÂ´ÃÂ¸Ã‘â€ Ã‘â€“Ã‘â€” ÃÂ² ÃÂ£ÃÂºÃ‘â‚¬ÃÂ°Ã‘â€”ÃÂ½Ã‘â€“. Ãâ„¢ÃÂ¾ÃÂ³ÃÂ¾ ÃÂ´ÃÂ¶ÃÂµÃ‘â‚¬ÃÂµÃÂ»ÃÂ° ÃÂ²ÃÂµÃÂ´Ã‘Æ’Ã‘â€šÃ‘Å’ ÃÂ´ÃÂ¾ ÃÅ¡ÃÂ¸Ã‘â€”ÃÂ²Ã‘ÂÃ‘Å’ÃÂºÃÂ¾Ã‘â€” ÃÂ Ã‘Æ’Ã‘ÂÃ‘â€“, ÃÂ´ÃÂ¾ Ã‘ÂÃ‘â€šÃÂ°Ã‘â‚¬ÃÂ¾ÃÂ´ÃÂ°ÃÂ²ÃÂ½Ã‘Å’ÃÂ¾ÃÂ³ÃÂ¾ ÃÅ¡ÃÂ¸Ã‘â€ÃÂ²ÃÂ°, Ã‘ÂÃÂºÃÂ¸ÃÂ¹, Ã‘ÂÃÂº ÃÂ²Ã‘â€“ÃÂ´ÃÂ¾ÃÂ¼ÃÂ¾, ÃÂ±Ã‘Æ’ÃÂ² ÃÂ²ÃÂ¸ÃÂ´ÃÂ°Ã‘â€šÃÂ½ÃÂ¸ÃÂ¼ Ã‘â€ ÃÂµÃÂ½Ã‘â€šÃ‘â‚¬ÃÂ¾ÃÂ¼ Ã‘â€“ÃÂºÃÂ¾ÃÂ½ÃÂ¾ÃÂ¿ÃÂ¸Ã‘ÂÃÂ°ÃÂ½ÃÂ½Ã‘Â ÃÂ´ÃÂ»Ã‘Â ÃÂ²Ã‘ÂÃ‘â€“Ã‘â€¦ ÃÂ·ÃÂµÃÂ¼ÃÂµÃÂ»Ã‘Å’ ÃÂ´ÃÂµÃ‘â‚¬ÃÂ¶ÃÂ°ÃÂ²ÃÂ¸. ÃÂ¥Ã‘Æ’ÃÂ´ÃÂ¾ÃÂ¶ÃÂ½Ã‘â€“ ÃÂ¹ ÃÂµÃ‘ÂÃ‘â€šÃÂµÃ‘â€šÃÂ¸Ã‘â€¡ÃÂ½Ã‘â€“ Ã‘â€“ÃÂ´ÃÂµÃÂ°ÃÂ»ÃÂ¸ Ã‘â€šÃÂ° ÃÂºÃÂ°ÃÂ½ÃÂ¾ÃÂ½ÃÂ¸, ÃÂ²ÃÂ¸Ã‘â‚¬ÃÂ¾ÃÂ±ÃÂ»ÃÂµÃÂ½Ã‘â€“ ÃÂ²Ã‘â€“ÃÂ·ÃÂ°ÃÂ½Ã‘â€šÃ‘â€“ÃÂ¹Ã‘ÂÃ‘Å’ÃÂºÃÂ¾Ã‘Å½ Ã‘ÂÃ‘â€¦ÃÂ¾ÃÂ»ÃÂ°Ã‘ÂÃ‘â€šÃÂ¸Ã‘â€¡ÃÂ½ÃÂ¾Ã‘Å½ Ã‘Ë†ÃÂºÃÂ¾ÃÂ»ÃÂ¾Ã‘Å½, Ã‘â€šÃ‘â‚¬ÃÂ¸ÃÂ²ÃÂ°ÃÂ»ÃÂ¸ÃÂ¹ Ã‘â€¡ÃÂ°Ã‘Â ÃÂ±Ã‘Æ’ÃÂ»ÃÂ¸ ÃÂ½ÃÂ¾Ã‘â‚¬ÃÂ¼ÃÂ¾Ã‘Å½ ÃÂ´ÃÂ»Ã‘Â Ã‘Æ’ÃÂºÃ‘â‚¬ÃÂ°Ã‘â€”ÃÂ½Ã‘ÂÃ‘Å’ÃÂºÃÂ¾ÃÂ³ÃÂ¾ Ã‘â€“ÃÂºÃÂ¾ÃÂ½ÃÂ¾ÃÂ¿ÃÂ¸Ã‘ÂÃ‘Æ’. ÃÂ¨ÃÂµÃÂ´ÃÂµÃÂ²Ã‘â‚¬ÃÂ¾ÃÂ¼ ÃÂ¼Ã‘Æ’ÃÂ·ÃÂµÃÂ¹ÃÂ½ÃÂ¾ÃÂ³ÃÂ¾ ÃÂ·Ã‘â€“ÃÂ±Ã‘â‚¬ÃÂ°ÃÂ½ÃÂ½Ã‘Â Ã‘â€ Ã‘â‚¬Ã‘â€“ÃÂ´ÃÂºÃ‘â€“Ã‘ÂÃÂ½ÃÂ° ÃÂ²Ã‘â€“ÃÂ·ÃÂ°ÃÂ½Ã‘â€šÃ‘â€“ÃÂ¹Ã‘ÂÃ‘Å’ÃÂºÃÂ° ÃÂ¿ÃÂ°ÃÂ¼'Ã‘ÂÃ‘â€šÃÂºÃÂ° - ÃÂ´ÃÂµÃ‘â‚¬ÃÂµÃÂ²'Ã‘ÂÃÂ½ÃÂ° Ã‘â‚¬ÃÂµÃÂ»Ã‘Å’Ã‘â€Ã‘â€žÃÂ½ÃÂ° Ã‘â€“ÃÂºÃÂ¾ÃÂ½ÃÂ° XI Ã‘ÂÃ‘â€š. "ÃÂ¡ÃÂ². Ãâ€œÃÂµÃÂ¾Ã‘â‚¬ÃÂ³Ã‘â€“ÃÂ¹ ÃÂ· ÃÂ¶ÃÂ¸Ã‘â€šÃ‘â€“Ã‘â€ÃÂ¼". Ãâ€ÃÂ¾Ã‘ÂÃÂºÃÂ¾ÃÂ½ÃÂ°ÃÂ»ÃÂ° ÃÂ¿ÃÂ»ÃÂ°Ã‘ÂÃ‘â€šÃÂ¸ÃÂºÃÂ° Ã‘â‚¬ÃÂµÃÂ»Ã‘Å’Ã‘â€Ã‘â€žÃ‘Æ’ Ã‘Æ’Ã‘ÂÃÂ¿ÃÂ°ÃÂ´ÃÂºÃÂ¾ÃÂ²Ã‘Æ’Ã‘â€ ÃÂ°ÃÂ½Ã‘â€šÃÂ¸Ã‘â€¡ÃÂ½Ã‘Æ’ ÃÂ¾Ã‘ÂÃÂ½ÃÂ¾ÃÂ²Ã‘Æ’ ÃÂ¼ÃÂ¾ÃÂ´ÃÂµÃÂ»Ã‘Å½ÃÂ²ÃÂ°ÃÂ½ÃÂ½Ã‘Â. ÃÂÃÂ°ÃÂ´ÃÂ¸Ã‘â€¦ÃÂ°Ã‘Å½Ã‘â€¡ÃÂ¸Ã‘ÂÃ‘Å’ ÃÂ²ÃÂµÃÂ»ÃÂ¸Ã‘â€¡ÃÂ½ÃÂ¸ÃÂ¼ ÃÂ´Ã‘Æ’Ã‘â€¦ÃÂ¾ÃÂ¼ ÃÂ°ÃÂ½Ã‘â€šÃÂ¸Ã‘â€¡ÃÂ½ÃÂ¾Ã‘ÂÃ‘â€šÃ‘â€“, Ãâ€™Ã‘â€“ÃÂ·ÃÂ°ÃÂ½Ã‘â€šÃ‘â€“Ã‘Â ÃÂ¿ÃÂ¾Ã‘Ë†ÃÂ¸Ã‘â‚¬Ã‘Å½ÃÂ²ÃÂ°ÃÂ»ÃÂ° Ã‘â€”Ã‘â€” ÃÂ²ÃÂ¿ÃÂ»ÃÂ¸ÃÂ² ÃÂ½ÃÂ° ÃÅ¡ÃÂ¸Ã‘â€”ÃÂ²Ã‘ÂÃ‘Å’ÃÂºÃ‘Æ’ ÃÂ Ã‘Æ’Ã‘ÂÃ‘Å’. Ãâ€ºÃÂ°Ã‘â‚¬ÃÂ¸Ã‘ÂÃÂ° ÃÂ§ÃÂ»ÃÂµÃÂ½ÃÂ¾ÃÂ²ÃÂ° ÃÂÃÂ°Ã‘â€ Ã‘â€“ÃÂ¾ÃÂ½ÃÂ°ÃÂ»Ã‘Å’ÃÂ½ÃÂ¸ÃÂ¹ Ã‘â€¦Ã‘Æ’ÃÂ´ÃÂ¾ÃÂ¶ÃÂ½Ã‘â€“ÃÂ¹ ÃÂ¼Ã‘Æ’ÃÂ·ÃÂµÃÂ¹ ÃÂ£ÃÂºÃ‘â‚¬ÃÂ°Ã‘â€”ÃÂ½ÃÂ¸. ÃÂÃÂ»Ã‘Å’ÃÂ±ÃÂ¾ÃÂ¼. ÃÅ¡ÃÂ¸Ã‘â€”ÃÂ², "ÃÂÃ‘â‚¬Ã‘â€šÃÂ°ÃÂ½Ã‘â€“Ã‘Â ÃÂÃÂ¾ÃÂ²ÃÂ°", 2003. XI Ã‘ÂÃ‘â€š. (?). Ãâ€™Ã‘â€“ÃÂ·ÃÂ°ÃÂ½Ã‘â€šÃ‘â€“Ã‘Â. Ãâ€ÃÂµÃ‘â‚¬ÃÂµÃÂ²ÃÂ¾, ÃÂ»ÃÂµÃÂ²ÃÂºÃÂ°Ã‘Â, ÃÂ¿ÃÂ¾ÃÂ»Ã‘â€“Ã‘â€¦Ã‘â‚¬ÃÂ¾ÃÂ¼Ã‘â€“Ã‘Â ÃÂºÃÂ»ÃÂµÃÂ¹ÃÂ¾ÃÂ²ÃÂ¾Ã‘Å½ Ã‘â€šÃÂµÃÂ¼ÃÂ¿ÃÂµÃ‘â‚¬ÃÂ¾Ã‘Å½, ÃÂ¿ÃÂ¾ÃÂ·ÃÂ¾ÃÂ»ÃÂ¾Ã‘â€šÃÂ°, ÃÂ±ÃÂ°Ã‘â‚¬ÃÂµÃÂ»Ã‘Å’Ã‘â€Ã‘â€ž. 107 Ã‘â€¦ 82 Ã‘â€¦ 7,5 (ÃÂ² ÃÂºÃ‘â€“ÃÂ¾Ã‘â€šÃ‘â€“). Saint George with Scenes from his Life. 11th c. (?). Byzantine state. Sized tempera, gilding on gesso-grounded panel, bas-relief. ...ÃÅ¸Ã‘â‚¬ÃÂ¾ÃÂ²Ã‘â€“ÃÂ´ÃÂ½ÃÂµ ÃÂ¼Ã‘â€“Ã‘ÂÃ‘â€ ÃÂµ ÃÂ² Ã‘ÂÃÂµÃ‘â‚¬ÃÂµÃÂ´ÃÂ½Ã‘Å’ÃÂ¾ÃÂ²Ã‘â€“Ã‘â€¡ÃÂ½ÃÂ¾ÃÂ¼Ã‘Æ’ ÃÂ¼ÃÂ¸Ã‘ÂÃ‘â€šÃÂµÃ‘â€ Ã‘â€šÃÂ²Ã‘â€“ ÃÂ½ÃÂ°ÃÂ»ÃÂµÃÂ¶ÃÂ°ÃÂ»ÃÂ¾ Ã‘â€“ÃÂºÃÂ¾ÃÂ½ÃÂ¾ÃÂ¿ÃÂ¸Ã‘ÂÃ‘Æ’, Ã‘â€°ÃÂ¾ ÃÂ¼ÃÂ°ÃÂ² ÃÂ´ÃÂ°ÃÂ²ÃÂ½Ã‘â€“ Ã‘â€šÃ‘â‚¬ÃÂ°ÃÂ´ÃÂ¸Ã‘â€ Ã‘â€“Ã‘â€” ÃÂ² ÃÂ£ÃÂºÃ‘â‚¬ÃÂ°Ã‘â€”ÃÂ½Ã‘â€“. Ãâ„¢ÃÂ¾ÃÂ³ÃÂ¾ ÃÂ´ÃÂ¶ÃÂµÃ‘â‚¬ÃÂµÃÂ»ÃÂ° ÃÂ²ÃÂµÃÂ´Ã‘Æ’Ã‘â€šÃ‘Å’ ÃÂ´ÃÂ¾ ÃÅ¡ÃÂ¸Ã‘â€”ÃÂ²Ã‘ÂÃ‘Å’ÃÂºÃÂ¾Ã‘â€” ÃÂ Ã‘Æ’Ã‘ÂÃ‘â€“, ÃÂ´ÃÂ¾ Ã‘ÂÃ‘â€šÃÂ°Ã‘â‚¬ÃÂ¾ÃÂ´ÃÂ°ÃÂ²ÃÂ½Ã‘Å’ÃÂ¾ÃÂ³ÃÂ¾ ÃÅ¡ÃÂ¸Ã‘â€ÃÂ²ÃÂ°, Ã‘ÂÃÂºÃÂ¸ÃÂ¹, Ã‘ÂÃÂº ÃÂ²Ã‘â€“ÃÂ´ÃÂ¾ÃÂ¼ÃÂ¾, ÃÂ±Ã‘Æ’ÃÂ² ÃÂ²ÃÂ¸ÃÂ´ÃÂ°Ã‘â€šÃÂ½ÃÂ¸ÃÂ¼ Ã‘â€ ÃÂµÃÂ½Ã‘â€šÃ‘â‚¬ÃÂ¾ÃÂ¼ Ã‘â€“ÃÂºÃÂ¾ÃÂ½ÃÂ¾ÃÂ¿ÃÂ¸Ã‘ÂÃÂ°ÃÂ½ÃÂ½Ã‘Â ÃÂ´ÃÂ»Ã‘Â ÃÂ²Ã‘ÂÃ‘â€“Ã‘â€¦ ÃÂ·ÃÂµÃÂ¼ÃÂµÃÂ»Ã‘Å’ ÃÂ´ÃÂµÃ‘â‚¬ÃÂ¶ÃÂ°ÃÂ²ÃÂ¸. ÃÂ¥Ã‘Æ’ÃÂ´ÃÂ¾ÃÂ¶ÃÂ½Ã‘â€“ ÃÂ¹ ÃÂµÃ‘ÂÃ‘â€šÃÂµÃ‘â€šÃÂ¸Ã‘â€¡ÃÂ½Ã‘â€“ Ã‘â€“ÃÂ´ÃÂµÃÂ°ÃÂ»ÃÂ¸ Ã‘â€šÃÂ° ÃÂºÃÂ°ÃÂ½ÃÂ¾ÃÂ½ÃÂ¸, ÃÂ²ÃÂ¸Ã‘â‚¬ÃÂ¾ÃÂ±ÃÂ»ÃÂµÃÂ½Ã‘â€“ ÃÂ²Ã‘â€“ÃÂ·ÃÂ°ÃÂ½Ã‘â€šÃ‘â€“ÃÂ¹Ã‘ÂÃ‘Å’ÃÂºÃÂ¾Ã‘Å½ Ã‘ÂÃ‘â€¦ÃÂ¾ÃÂ»ÃÂ°Ã‘ÂÃ‘â€šÃÂ¸Ã‘â€¡ÃÂ½ÃÂ¾Ã‘Å½ Ã‘Ë†ÃÂºÃÂ¾ÃÂ»ÃÂ¾Ã‘Å½, Ã‘â€šÃ‘â‚¬ÃÂ¸ÃÂ²ÃÂ°ÃÂ»ÃÂ¸ÃÂ¹ Ã‘â€¡ÃÂ°Ã‘Â ÃÂ±Ã‘Æ’ÃÂ»ÃÂ¸ ÃÂ½ÃÂ¾Ã‘â‚¬ÃÂ¼ÃÂ¾Ã‘Å½ ÃÂ´ÃÂ»Ã‘Â Ã‘Æ’ÃÂºÃ‘â‚¬ÃÂ°Ã‘â€”ÃÂ½Ã‘ÂÃ‘Å’ÃÂºÃÂ¾ÃÂ³ÃÂ¾ Ã‘â€“ÃÂºÃÂ¾ÃÂ½ÃÂ¾ÃÂ¿ÃÂ¸Ã‘ÂÃ‘Æ’. ÃÂ¨ÃÂµÃÂ´ÃÂµÃÂ²Ã‘â‚¬ÃÂ¾ÃÂ¼ ÃÂ¼Ã‘Æ’ÃÂ·ÃÂµÃÂ¹ÃÂ½ÃÂ¾ÃÂ³ÃÂ¾ ÃÂ·Ã‘â€“ÃÂ±Ã‘â‚¬ÃÂ°ÃÂ½ÃÂ½Ã‘Â Ã‘â€ Ã‘â‚¬Ã‘â€“ÃÂ´ÃÂºÃ‘â€“Ã‘ÂÃÂ½ÃÂ° ÃÂ²Ã‘â€“ÃÂ·ÃÂ°ÃÂ½Ã‘â€šÃ‘â€“ÃÂ¹Ã‘ÂÃ‘Å’ÃÂºÃÂ° ÃÂ¿ÃÂ°ÃÂ¼'Ã‘ÂÃ‘â€šÃÂºÃÂ° - ÃÂ´ÃÂµÃ‘â‚¬ÃÂµÃÂ²'Ã‘ÂÃÂ½ÃÂ° Ã‘â‚¬ÃÂµÃÂ»Ã‘Å’Ã‘â€Ã‘â€žÃÂ½ÃÂ° Ã‘â€“ÃÂºÃÂ¾ÃÂ½ÃÂ° XI Ã‘ÂÃ‘â€š. "ÃÂ¡ÃÂ². Ãâ€œÃÂµÃÂ¾Ã‘â‚¬ÃÂ³Ã‘â€“ÃÂ¹ ÃÂ· ÃÂ¶ÃÂ¸Ã‘â€šÃ‘â€“Ã‘â€ÃÂ¼". Ãâ€ÃÂ¾Ã‘ÂÃÂºÃÂ¾ÃÂ½ÃÂ°ÃÂ»ÃÂ° ÃÂ¿ÃÂ»ÃÂ°Ã‘ÂÃ‘â€šÃÂ¸ÃÂºÃÂ° Ã‘â‚¬ÃÂµÃÂ»Ã‘Å’Ã‘â€Ã‘â€žÃ‘Æ’ Ã‘Æ’Ã‘ÂÃÂ¿ÃÂ°ÃÂ´ÃÂºÃÂ¾ÃÂ²Ã‘Æ’Ã‘â€ ÃÂ°ÃÂ½Ã‘â€šÃÂ¸Ã‘â€¡ÃÂ½Ã‘Æ’ ÃÂ¾Ã‘ÂÃÂ½ÃÂ¾ÃÂ²Ã‘Æ’ ÃÂ¼ÃÂ¾ÃÂ´ÃÂµÃÂ»Ã‘Å½ÃÂ²ÃÂ°ÃÂ½ÃÂ½Ã‘Â. ÃÂÃÂ°ÃÂ´ÃÂ¸Ã‘â€¦ÃÂ°Ã‘Å½Ã‘â€¡ÃÂ¸Ã‘ÂÃ‘Å’ ÃÂ²ÃÂµÃÂ»ÃÂ¸Ã‘â€¡ÃÂ½ÃÂ¸ÃÂ¼ ÃÂ´Ã‘Æ’Ã‘â€¦ÃÂ¾ÃÂ¼ ÃÂ°ÃÂ½Ã‘â€šÃÂ¸Ã‘â€¡ÃÂ½ÃÂ¾Ã‘ÂÃ‘â€šÃ‘â€“, Ãâ€™Ã‘â€“ÃÂ·ÃÂ°ÃÂ½Ã‘â€šÃ‘â€“Ã‘Â ÃÂ¿ÃÂ¾Ã‘Ë†ÃÂ¸Ã‘â‚¬Ã‘Å½ÃÂ²ÃÂ°ÃÂ»ÃÂ° Ã‘â€”Ã‘â€” ÃÂ²ÃÂ¿ÃÂ»ÃÂ¸ÃÂ² ÃÂ½ÃÂ° ÃÅ¡ÃÂ¸Ã‘â€”ÃÂ²Ã‘ÂÃ‘Å’ÃÂºÃ‘Æ’ ÃÂ Ã‘Æ’Ã‘ÂÃ‘Å’. Ãâ€ºÃÂ°Ã‘â‚¬ÃÂ¸Ã‘ÂÃÂ° ÃÂ§ÃÂ»ÃÂµÃÂ½ÃÂ¾ÃÂ²ÃÂ° ÃÂÃÂ°Ã‘â€ Ã‘â€“ÃÂ¾ÃÂ½ÃÂ°ÃÂ»Ã‘Å’ÃÂ½ÃÂ¸ÃÂ¹ Ã‘â€¦Ã‘Æ’ÃÂ´ÃÂ¾ÃÂ¶ÃÂ½Ã‘â€“ÃÂ¹ ÃÂ¼Ã‘Æ’ÃÂ·ÃÂµÃÂ¹ ÃÂ£ÃÂºÃ‘â‚¬ÃÂ°Ã‘â€”ÃÂ½ÃÂ¸. ÃÂÃÂ»Ã‘Å’ÃÂ±ÃÂ¾ÃÂ¼. ÃÅ¡ÃÂ¸Ã‘â€”ÃÂ², "ÃÂÃ‘â‚¬Ã‘â€šÃÂ°ÃÂ½Ã‘â€“Ã‘Â ÃÂÃÂ¾ÃÂ²ÃÂ°", 2003

Art, Painting, Circle, Visual Arts

Ð”Ñ€ÑƒÐ³Ð° Ð¿Ð¾Ð». XV ÑÑ‚. Ð“Ð°Ð»Ð¸Ñ‡Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°. 130 Ñ… 99 Ñ… 2,5. Christ in Majesty. Latter half of the 15th c. Galychyna. Tempera on gesso-grounded canvas pasted to lime-wood panel. ...Ð’Ð¸ÑÐ¾ÐºÐ¸Ð¹ ÑÑ‚Ð¸Ð»ÑŒ Ñ– Ð³ÑƒÐ¼Ð°Ð½Ñ–ÑÑ‚Ð¸Ñ‡Ð½Ñ– Ñ–Ð´ÐµÐ°Ð»Ð¸ ÑƒÐºÑ€Ð°Ñ—Ð½ÑÑŒÐºÐ¾Ð³Ð¾ Ñ–ÐºÐ¾Ð½Ð¾Ð¿Ð¸ÑÑƒ Ñ€ÐµÐ¿Ñ€ÐµÐ·ÐµÐ½Ñ‚ÑƒÑ” Ñ–ÐºÐ¾Ð½Ð° "Ð¡Ð¿Ð°Ñ Ñƒ ÑÐ¸Ð»Ð°Ñ…" (II Ð¿Ð¾Ð». XV ÑÑ‚.) Ð¯Ðº Ñ– Ð±Ñ–Ð»ÑŒÑˆÑ–ÑÑ‚ÑŒ Ñ–ÐºÐ¾Ð½ Ñ‚Ð¾Ð³Ð¾ Ð¿ÐµÑ€Ñ–Ð¾Ð´Ñƒ, Ð²Ð¾Ð½Ð° Ð¿Ð¾Ñ…Ð¾Ð´Ð¸Ñ‚ÑŒ Ð· Ð“Ð°Ð»Ð¸Ñ‡Ð¸Ð½Ð¸, Ð¹Ð¼Ð¾Ð²Ñ–Ñ€Ð½Ð¾ Ð½Ð°Ð»ÐµÐ¶Ð¸Ñ‚ÑŒ Ð´Ð¾ ÐŸÐµÑ€ÐµÐ¼Ð¸ÑˆÐ»ÑŒÑÑŒÐºÐ¾Ð³Ð¾ Ñ…ÑƒÐ´Ð¾Ð¶Ð½ÑŒÐ¾Ð³Ð¾ Ñ†ÐµÐ½Ñ‚Ñ€Ñƒ. Ð’ÑÑ–Ð¼ ÑÐ²Ð¾Ñ—Ð¼ Ð³Ð°Ñ€Ð¼Ð¾Ð½Ñ–Ð¹Ð½Ð¸Ð¼ Ð»Ð°Ð´Ð¾Ð¼, Ð´ÑƒÑ…Ð¾Ð²Ð½Ð¾ÑŽ Ð¿Ñ€Ð¾ÑÐ²Ñ–Ñ‚Ð»ÐµÐ½Ñ–ÑÑ‚ÑŽ Ð¾Ð±Ñ€Ð°Ð·Ñƒ Ð¹ Ð¼Ð¾Ð½ÑƒÐ¼ÐµÐ½Ñ‚Ð°Ð»ÑŒÐ½Ð¾ÑŽ ÑƒÐ·Ð°Ð³Ð°Ð»ÑŒÐ½ÐµÐ½Ð¾ÑŽ Ð¿Ð¾Ð±ÑƒÐ´Ð¾Ð²Ð¾ÑŽ Ñ–ÐºÐ¾Ð½Ð° Ð·Ð°ÑÐ²Ñ–Ð´Ñ‡ÑƒÑ” Ð²Ð¸ÑÐ¾ÐºÐ¸Ð¹ Ñ€Ñ–Ð²ÐµÐ½ÑŒ ÑƒÐºÑ€Ð°Ñ—Ð½ÑÑŒÐºÐ¾Ð³Ð¾ Ñ–ÐºÐ¾Ð½Ð¾Ð¿Ð¸ÑÑƒ XV ÑÑ‚. Ð›Ð°Ñ€Ð¸ÑÐ° Ð§Ð»ÐµÐ½Ð¾Ð²Ð° ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003. Ð”Ñ€ÑƒÐ³Ð° Ð¿Ð¾Ð». XV ÑÑ‚. Ð“Ð°Ð»Ð¸Ñ‡Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°. 130 Ñ… 99 Ñ… 2,5. Christ in Majesty. Latter half of the 15th c. Galychyna. Tempera on gesso-grounded canvas pasted to lime-wood panel. ...Ð’Ð¸ÑÐ¾ÐºÐ¸Ð¹ ÑÑ‚Ð¸Ð»ÑŒ Ñ– Ð³ÑƒÐ¼Ð°Ð½Ñ–ÑÑ‚Ð¸Ñ‡Ð½Ñ– Ñ–Ð´ÐµÐ°Ð»Ð¸ ÑƒÐºÑ€Ð°Ñ—Ð½ÑÑŒÐºÐ¾Ð³Ð¾ Ñ–ÐºÐ¾Ð½Ð¾Ð¿Ð¸ÑÑƒ Ñ€ÐµÐ¿Ñ€ÐµÐ·ÐµÐ½Ñ‚ÑƒÑ” Ñ–ÐºÐ¾Ð½Ð° "Ð¡Ð¿Ð°Ñ Ñƒ ÑÐ¸Ð»Ð°Ñ…" (II Ð¿Ð¾Ð». XV ÑÑ‚.) Ð¯Ðº Ñ– Ð±Ñ–Ð»ÑŒÑˆÑ–ÑÑ‚ÑŒ Ñ–ÐºÐ¾Ð½ Ñ‚Ð¾Ð³Ð¾ Ð¿ÐµÑ€Ñ–Ð¾Ð´Ñƒ, Ð²Ð¾Ð½Ð° Ð¿Ð¾Ñ…Ð¾Ð´Ð¸Ñ‚ÑŒ Ð· Ð“Ð°Ð»Ð¸Ñ‡Ð¸Ð½Ð¸, Ð¹Ð¼Ð¾Ð²Ñ–Ñ€Ð½Ð¾ Ð½Ð°Ð»ÐµÐ¶Ð¸Ñ‚ÑŒ Ð´Ð¾ ÐŸÐµÑ€ÐµÐ¼Ð¸ÑˆÐ»ÑŒÑÑŒÐºÐ¾Ð³Ð¾ Ñ…ÑƒÐ´Ð¾Ð¶Ð½ÑŒÐ¾Ð³Ð¾ Ñ†ÐµÐ½Ñ‚Ñ€Ñƒ. Ð’ÑÑ–Ð¼ ÑÐ²Ð¾Ñ—Ð¼ Ð³Ð°Ñ€Ð¼Ð¾Ð½Ñ–Ð¹Ð½Ð¸Ð¼ Ð»Ð°Ð´Ð¾Ð¼, Ð´ÑƒÑ…Ð¾Ð²Ð½Ð¾ÑŽ Ð¿Ñ€Ð¾ÑÐ²Ñ–Ñ‚Ð»ÐµÐ½Ñ–ÑÑ‚ÑŽ Ð¾Ð±Ñ€Ð°Ð·Ñƒ Ð¹ Ð¼Ð¾Ð½ÑƒÐ¼ÐµÐ½Ñ‚Ð°Ð»ÑŒÐ½Ð¾ÑŽ ÑƒÐ·Ð°Ð³Ð°Ð»ÑŒÐ½ÐµÐ½Ð¾ÑŽ Ð¿Ð¾Ð±ÑƒÐ´Ð¾Ð²Ð¾ÑŽ Ñ–ÐºÐ¾Ð½Ð° Ð·Ð°ÑÐ²Ñ–Ð´Ñ‡ÑƒÑ” Ð²Ð¸ÑÐ¾ÐºÐ¸Ð¹ Ñ€Ñ–Ð²ÐµÐ½ÑŒ ÑƒÐºÑ€Ð°Ñ—Ð½ÑÑŒÐºÐ¾Ð³Ð¾ Ñ–ÐºÐ¾Ð½Ð¾Ð¿Ð¸ÑÑƒ XV ÑÑ‚. Ð›Ð°Ñ€Ð¸ÑÐ° Ð§Ð»ÐµÐ½Ð¾Ð²Ð° ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003

Textile, Painting, Art, Wall

ÐšÑ–Ð½ÐµÑ†ÑŒ XVII ÑÑ‚. Ð’Ð¾Ð»Ð¸Ð½ÑŒ. Ð”Ð¾ÑˆÐºÐ° ÐºÐ¾Ð¼Ð±Ñ–Ð½Ð¾Ð²Ð°Ð½Ð° (Ð»Ð¸Ð¿Ð¾Ð²Ð°, ÑÐ»Ð¸Ð½Ð¾Ð²Ð°), Ð»ÐµÐ²ÐºÐ°Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°, Ñ€Ð¸Ñ‚ÑƒÐ²Ð°Ð½Ð½Ñ, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ. Ð’ Ð¾Ð±Ñ€Ð°Ð¼Ð»ÐµÐ½Ð½Ñ–: 117 Ñ… 74 Ñ… 4,5. The Exaltation of the Holy Cross. Late 17th c. Volyn. Tempera, engraving, gilding, silvering on gesso-grounded two-piece combined panel (lime-wood and fir-wood). ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003. ÐšÑ–Ð½ÐµÑ†ÑŒ XVII ÑÑ‚. Ð’Ð¾Ð»Ð¸Ð½ÑŒ. Ð”Ð¾ÑˆÐºÐ° ÐºÐ¾Ð¼Ð±Ñ–Ð½Ð¾Ð²Ð°Ð½Ð° (Ð»Ð¸Ð¿Ð¾Ð²Ð°, ÑÐ»Ð¸Ð½Ð¾Ð²Ð°), Ð»ÐµÐ²ÐºÐ°Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°, Ñ€Ð¸Ñ‚ÑƒÐ²Ð°Ð½Ð½Ñ, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ. Ð’ Ð¾Ð±Ñ€Ð°Ð¼Ð»ÐµÐ½Ð½Ñ–: 117 Ñ… 74 Ñ… 4,5. The Exaltation of the Holy Cross. Late 17th c. Volyn. Tempera, engraving, gilding, silvering on gesso-grounded two-piece combined panel (lime-wood and fir-wood). ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003.

Painting, Art, Illustration, Mythology

1730. ÐšÐ¸Ñ—Ð²Ñ‰Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ð¾Ð»Ñ–Ñ, Ñ€Ñ–Ð·ÑŒÐ±Ð»ÐµÐ½Ð½Ñ. 96 Ñ… 72 Ñ… 6 (Ð² Ð¾Ð±Ñ€Ð°Ð¼Ð»ÐµÐ½Ð½Ñ–). Saint Paraskevi of Iconium (Paraskeva Pyatnitsa). 1730. Kyivshchyna. Tempera, oil on gesso-grounded two-piece lime-wood panel, carving. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003. 1730. ÐšÐ¸Ñ—Ð²Ñ‰Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ð¾Ð»Ñ–Ñ, Ñ€Ñ–Ð·ÑŒÐ±Ð»ÐµÐ½Ð½Ñ. 96 Ñ… 72 Ñ… 6 (Ð² Ð¾Ð±Ñ€Ð°Ð¼Ð»ÐµÐ½Ð½Ñ–). Saint Paraskevi of Iconium (Paraskeva Pyatnitsa). 1730. Kyivshchyna. Tempera, oil on gesso-grounded two-piece lime-wood panel, carving. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003.

The Chalk Vein

The Chalk Vein of Apennines

Textile, Tree, Art, Painting

1729. ÐšÐ¸Ñ—Ð². Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ð¾Ð»Ñ–Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°. 118 Ñ… 32 Ñ… 3,5. The Entry in Jerusalem. 1729. Kyiv. Oil, gilding on gesso-grounded three-piece lime-wood panel. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003. 1729. ÐšÐ¸Ñ—Ð². Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ð¾Ð»Ñ–Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°. 118 Ñ… 32 Ñ… 3,5. The Entry in Jerusalem. 1729. Kyiv. Oil, gilding on gesso-grounded three-piece lime-wood panel. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003.

The Chalk Vein

The Chalk Vein of Apennines

Textile, Art, Painting, Paint

1729. ÐšÐ¸Ñ—Ð². Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ð¾Ð»Ñ–Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°. 118 Ñ… 32 Ñ… 3,5. The Nativity. 1729. Kyiv. Oil, gilding on gesso-grounded three-piece lime-wood panel. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003. 1729. ÐšÐ¸Ñ—Ð². Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ð¾Ð»Ñ–Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°. 118 Ñ… 32 Ñ… 3,5. The Nativity. 1729. Kyiv. Oil, gilding on gesso-grounded three-piece lime-wood panel. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003.

Human Body, Paint, Textile, Art

1680-1685. Ð¡Ð»Ð¾Ð±Ð¾Ð¶Ð°Ð½Ñ‰Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ð¾Ð»Ñ–Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ñ€Ñ–Ð·ÑŒÐ±Ð»ÐµÐ½Ð½Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°. 102 Ñ… 41. Saint Anne. 1680-1685. Sloboda Ukraine. Tempera, oil, gilding on gesso-grounded two-piece lime-wood panel. carving. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003. 1680-1685. Ð¡Ð»Ð¾Ð±Ð¾Ð¶Ð°Ð½Ñ‰Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ð¾Ð»Ñ–Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ñ€Ñ–Ð·ÑŒÐ±Ð»ÐµÐ½Ð½Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°. 102 Ñ… 41. Saint Anne. 1680-1685. Sloboda Ukraine. Tempera, oil, gilding on gesso-grounded two-piece lime-wood panel. carving. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003

The Chalk Vein

The Chalk Vein of Apennines

Textile, Painting, Art, Religious Item

ÐŸÐµÑ€ÑˆÐ° Ð¿Ð¾Ð». XVIII ÑÑ‚. Ð¡Ð»Ð¾Ð±Ð¾Ð¶Ð°Ð½Ñ‰Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ð¾Ð»Ñ–Ñ, Ñ€Ñ–Ð·ÑŒÐ±Ð»ÐµÐ½Ð½Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°. 97 Ñ… 62 Ñ… 3. The Dormition. First half of the 18th c. Sloboda Ukraine. Tempera, oil, gilding on gesso-grounded lime-wood panel, carving. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003. ÐŸÐµÑ€ÑˆÐ° Ð¿Ð¾Ð». XVIII ÑÑ‚. Ð¡Ð»Ð¾Ð±Ð¾Ð¶Ð°Ð½Ñ‰Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ð¾Ð»Ñ–Ñ, Ñ€Ñ–Ð·ÑŒÐ±Ð»ÐµÐ½Ð½Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°. 97 Ñ… 62 Ñ… 3. The Dormition. First half of the 18th c. Sloboda Ukraine. Tempera, oil, gilding on gesso-grounded lime-wood panel, carving. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003.

Textile, Rectangle, Art, Painting

ÐžÑÑ‚Ð°Ð½Ð½Ñ Ñ‡Ð²ÐµÑ€Ñ‚ÑŒ XVI ÑÑ‚. Ð“Ð°Ð»Ð¸Ñ‡Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ, Ñ‚Ð¸ÑÐ½ÐµÐ½Ð½Ñ Ð½Ð° Ð¿Ð¾Ð»ÑÑ…. 42 Ñ… 31 Ñ… 2. The Annunciation Last quarter of the 16th c. Galychyna. Tempera on gesso-grounded two-piece lime-wood panel, silvering, border stamping. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003. ÐžÑÑ‚Ð°Ð½Ð½Ñ Ñ‡Ð²ÐµÑ€Ñ‚ÑŒ XVI ÑÑ‚. Ð“Ð°Ð»Ð¸Ñ‡Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ, Ñ‚Ð¸ÑÐ½ÐµÐ½Ð½Ñ Ð½Ð° Ð¿Ð¾Ð»ÑÑ…. 42 Ñ… 31 Ñ… 2. The Annunciation Last quarter of the 16th c. Galychyna. Tempera on gesso-grounded two-piece lime-wood panel, silvering, border stamping. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003

The Chalk Vein

The Chalk Vein of Apennines

The Chalk Vein

The Chalk Vein of Apennines

ScratchFrame

Frame with scuffed and scratched surface developed by sanding gesso then applying several layers of black acrylic paint. Surface shows coarse, rough tool marks of the process. Additional details achieved using a variety of Adobe Photoshop techniques. Frame with scuffed and scratched surface developed by sanding gesso then applying several layers of black acrylic paint. Surface shows coarse, rough tool marks of the process. Additional details achieved using a variety of Adobe Photoshop techniques

Textile, Art, Painting, Religious Item

Ð¡ÐµÑ€ÐµÐ´Ð¸Ð½Ð° XVI ÑÑ‚. Ð“Ð°Ð»Ð¸Ñ‡Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð¿Ð°Ð²Ð¾Ð»Ð¾ÐºÐ° Ð¿Ð¾ ÑÑ‚Ð¸ÐºÑƒ Ð´Ð¾Ñ‰Ð¾Ðº, Ð»ÐµÐ²ÐºÐ°Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ñ‚Ð¸ÑÐ½ÐµÐ½Ð½Ñ, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ. 90 Ñ… 61 Ñ… 2. The Baptism. Mid-16th c. Galychyna. Tempera, silvering on gesso-grounded two-piece lime-wood panel, canvas on the joint of panels, stamping. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003. Ð¡ÐµÑ€ÐµÐ´Ð¸Ð½Ð° XVI ÑÑ‚. Ð“Ð°Ð»Ð¸Ñ‡Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð¿Ð°Ð²Ð¾Ð»Ð¾ÐºÐ° Ð¿Ð¾ ÑÑ‚Ð¸ÐºÑƒ Ð´Ð¾Ñ‰Ð¾Ðº, Ð»ÐµÐ²ÐºÐ°Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ñ‚Ð¸ÑÐ½ÐµÐ½Ð½Ñ, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ. 90 Ñ… 61 Ñ… 2. The Baptism. Mid-16th c. Galychyna. Tempera, silvering on gesso-grounded two-piece lime-wood panel, canvas on the joint of panels, stamping. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003

Art, Cartoon, Illustration, Beard

ÃÅ¾Ã‘ÂÃ‘â€šÃÂ°ÃÂ½ÃÂ½Ã‘Â Ã‘â€¡ÃÂ²ÃÂµÃ‘â‚¬Ã‘â€šÃ‘Å’ XVI Ã‘ÂÃ‘â€š. Ãâ€œÃÂ°ÃÂ»ÃÂ¸Ã‘â€¡ÃÂ¸ÃÂ½ÃÂ°. Ãâ€ÃÂ¾Ã‘Ë†ÃÂºÃÂ° ÃÂ»ÃÂ¸ÃÂ¿ÃÂ¾ÃÂ²ÃÂ°, ÃÂ»ÃÂµÃÂ²ÃÂºÃÂ°Ã‘Â, Ã‘â€šÃÂµÃÂ¼ÃÂ¿ÃÂµÃ‘â‚¬ÃÂ°, Ã‘â€šÃÂ¸Ã‘ÂÃÂ½ÃÂµÃÂ½ÃÂ½Ã‘Â, Ã‘ÂÃ‘â‚¬Ã‘â€“ÃÂ±ÃÂ»ÃÂµÃÂ½ÃÂ½Ã‘Â. 82 Ã‘â€¦ 50 Ã‘â€¦ 2. Saint Nicolas. Last quarter of the 16th c. Galychyna. Tempera, silvering on gesso-grounded two-piece lime-wood panel, stamping. ...Ãâ€“ÃÂ°ÃÂ½Ã‘â‚¬ÃÂ¾ÃÂ²ÃÂ° ÃÂ¿Ã‘â‚¬ÃÂ¸ÃÂ·ÃÂµÃÂ¼ÃÂ»ÃÂµÃÂ½Ã‘â€“Ã‘ÂÃ‘â€šÃ‘Å’ ÃÂ¾ÃÂ±Ã‘â‚¬ÃÂ°ÃÂ·Ã‘â€“ÃÂ², Ã‘Ë†ÃÂ¸Ã‘â‚¬ÃÂ¾Ã‘â€šÃÂ° ÃÂ´ÃÂµÃÂºÃÂ¾Ã‘â‚¬ÃÂ°Ã‘â€šÃÂ¸ÃÂ²ÃÂ½ÃÂ¾ÃÂ³ÃÂ¾ ÃÂ¼ÃÂ¸Ã‘ÂÃÂ»ÃÂµÃÂ½ÃÂ½Ã‘Â ÃÂ³ÃÂ°ÃÂ»ÃÂ¸Ã‘â€ Ã‘Å’ÃÂºÃÂ¸Ã‘â€¦ ÃÂ¼ÃÂ°ÃÂ¹Ã‘ÂÃ‘â€šÃ‘â‚¬Ã‘â€“ÃÂ², ÃÂ±ÃÂµÃÂ·ÃÂ¿ÃÂ¾Ã‘ÂÃÂµÃ‘â‚¬ÃÂµÃÂ´ÃÂ½Ã‘Â Ã‘â€°ÃÂ¸Ã‘â‚¬Ã‘â€“Ã‘ÂÃ‘â€šÃ‘Å’ Ã‘â€”Ã‘â€¦ÃÂ½Ã‘Å’ÃÂ¾ÃÂ³ÃÂ¾ Ã‘ÂÃÂ²Ã‘â€“Ã‘â€šÃÂ¾ÃÂ²Ã‘â€“ÃÂ´Ã‘â€¡Ã‘Æ’Ã‘â€šÃ‘â€šÃ‘Â ÃÂ·Ã‘Æ’ÃÂ¼ÃÂ¾ÃÂ²ÃÂ¸ÃÂ»ÃÂ¸ Ã‘ÂÃ‘ÂÃÂºÃ‘â‚¬ÃÂ°ÃÂ²Ã‘Æ’ Ã‘ÂÃÂ°ÃÂ¼ÃÂ¾ÃÂ±Ã‘Æ’Ã‘â€šÃÂ½Ã‘â€“Ã‘ÂÃ‘â€šÃ‘Å’ Ã‘â€šÃÂ¾ÃÂ³ÃÂ¾Ã‘â€¡ÃÂ°Ã‘ÂÃÂ½ÃÂ¾ÃÂ³ÃÂ¾ Ã‘â€“ÃÂºÃÂ¾ÃÂ½ÃÂ¾ÃÂ¿ÃÂ¸Ã‘ÂÃ‘Æ’. ÃÂ¢ÃÂµÃÂ½ÃÂ´ÃÂµÃÂ½Ã‘â€ Ã‘â€“Ã‘Â ÃÂ´ÃÂ¾ ÃÂ¿ÃÂ¾ÃÂ´ÃÂ¾ÃÂ»ÃÂ°ÃÂ½ÃÂ½Ã‘Â ÃÂ°ÃÂ±Ã‘ÂÃ‘â€šÃ‘â‚¬ÃÂ°ÃÂ³ÃÂ¾ÃÂ²ÃÂ°ÃÂ½ÃÂ¾Ã‘â€” Ã‘â€“ÃÂºÃÂ¾ÃÂ½ÃÂ¾ÃÂ¿ÃÂ¸Ã‘ÂÃÂ½ÃÂ¾Ã‘â€” ÃÂ¼ÃÂ¾ÃÂ²ÃÂ¸ ÃÂ²ÃÂ¸Ã‘ÂÃÂ²ÃÂ»Ã‘ÂÃ‘â€Ã‘â€šÃ‘Å’Ã‘ÂÃ‘Â Ã‘Æ’ ÃÂ¿Ã‘â‚¬ÃÂ°ÃÂ³ÃÂ½ÃÂµÃÂ½ÃÂ½Ã‘â€“ Ã‘â€“ÃÂºÃÂ¾ÃÂ½ÃÂ¾ÃÂ¿ÃÂ¸Ã‘ÂÃ‘â€ Ã‘â€“ÃÂ² ÃÂ¿ÃÂµÃ‘â‚¬ÃÂµÃÂ´ÃÂ°Ã‘â€šÃÂ¸ Ã‘â‚¬ÃÂµÃÂ°ÃÂ»Ã‘Å’ÃÂ½Ã‘â€“ Ã‘ÂÃÂ¿ÃÂ¾Ã‘ÂÃ‘â€šÃÂµÃ‘â‚¬ÃÂµÃÂ¶ÃÂµÃÂ½ÃÂ½Ã‘Â ÃÂ½ÃÂ°ÃÂ²ÃÂºÃÂ¾ÃÂ»ÃÂ¸Ã‘Ë†ÃÂ½Ã‘Å’ÃÂ¾ÃÂ³ÃÂ¾ Ã‘ÂÃÂµÃ‘â‚¬ÃÂµÃÂ´ÃÂ¾ÃÂ²ÃÂ¸Ã‘â€°ÃÂ°, ÃÂ¾ÃÂ»Ã‘Å½ÃÂ´ÃÂ½ÃÂ¸Ã‘â€šÃÂ¸ ÃÂ²Ã‘â€“ÃÂ´Ã‘â€¡Ã‘Æ’ÃÂ¶ÃÂµÃÂ½ÃÂ¸ÃÂ¹ Ã‘â‚¬ÃÂµÃÂ»Ã‘â€“ÃÂ³Ã‘â€“ÃÂ¹ÃÂ½ÃÂ¸ÃÂ¹ Ã‘â€“ÃÂ´ÃÂµÃÂ°ÃÂ» ("ÃÂ¡ÃÂ²Ã‘ÂÃ‘â€šÃÂ¸ÃÂ¹ ÃÅ“ÃÂ¸ÃÂºÃÂ¾ÃÂ»ÃÂ°", "Ãâ€™ÃÂ¾Ã‘ÂÃÂºÃ‘â‚¬ÃÂµÃ‘ÂÃ‘â€“ÃÂ½ÃÂ½Ã‘Â", "ÃÂ¤ÃÂ¾ÃÂ¼ÃÂ° Ã‘â€“ Ãâ€™ÃÂ°Ã‘â‚¬Ã‘â€žÃÂ¾ÃÂ»ÃÂ¾ÃÂ¼Ã‘â€“ÃÂ¹" Ã‘â€šÃÂ° Ã‘â€“ÃÂ½. - ÃÂ´Ã‘â‚¬Ã‘Æ’ÃÂ³ÃÂ° ÃÂ¿ÃÂ¾ÃÂ»ÃÂ¾ÃÂ²ÃÂ¸ÃÂ½ÃÂ° XVI Ã‘ÂÃ‘â€š.). Ãâ€ºÃÂ°Ã‘â‚¬ÃÂ¸Ã‘ÂÃÂ° ÃÂ§ÃÂ»ÃÂµÃÂ½ÃÂ¾ÃÂ²ÃÂ° ÃÂÃÂ°Ã‘â€ Ã‘â€“ÃÂ¾ÃÂ½ÃÂ°ÃÂ»Ã‘Å’ÃÂ½ÃÂ¸ÃÂ¹ Ã‘â€¦Ã‘Æ’ÃÂ´ÃÂ¾ÃÂ¶ÃÂ½Ã‘â€“ÃÂ¹ ÃÂ¼Ã‘Æ’ÃÂ·ÃÂµÃÂ¹ ÃÂ£ÃÂºÃ‘â‚¬ÃÂ°Ã‘â€”ÃÂ½ÃÂ¸. ÃÂÃÂ»Ã‘Å’ÃÂ±ÃÂ¾ÃÂ¼. ÃÅ¡ÃÂ¸Ã‘â€”ÃÂ², "ÃÂÃ‘â‚¬Ã‘â€šÃÂ°ÃÂ½Ã‘â€“Ã‘Â ÃÂÃÂ¾ÃÂ²ÃÂ°", 2003. ÃÅ¾Ã‘ÂÃ‘â€šÃÂ°ÃÂ½ÃÂ½Ã‘Â Ã‘â€¡ÃÂ²ÃÂµÃ‘â‚¬Ã‘â€šÃ‘Å’ XVI Ã‘ÂÃ‘â€š. Ãâ€œÃÂ°ÃÂ»ÃÂ¸Ã‘â€¡ÃÂ¸ÃÂ½ÃÂ°. Ãâ€ÃÂ¾Ã‘Ë†ÃÂºÃÂ° ÃÂ»ÃÂ¸ÃÂ¿ÃÂ¾ÃÂ²ÃÂ°, ÃÂ»ÃÂµÃÂ²ÃÂºÃÂ°Ã‘Â, Ã‘â€šÃÂµÃÂ¼ÃÂ¿ÃÂµÃ‘â‚¬ÃÂ°, Ã‘â€šÃÂ¸Ã‘ÂÃÂ½ÃÂµÃÂ½ÃÂ½Ã‘Â, Ã‘ÂÃ‘â‚¬Ã‘â€“ÃÂ±ÃÂ»ÃÂµÃÂ½ÃÂ½Ã‘Â. 82 Ã‘â€¦ 50 Ã‘â€¦ 2. Saint Nicolas. Last quarter of the 16th c. Galychyna. Tempera, silvering on gesso-grounded two-piece lime-wood panel, stamping. ...Ãâ€“ÃÂ°ÃÂ½Ã‘â‚¬ÃÂ¾ÃÂ²ÃÂ° ÃÂ¿Ã‘â‚¬ÃÂ¸ÃÂ·ÃÂµÃÂ¼ÃÂ»ÃÂµÃÂ½Ã‘â€“Ã‘ÂÃ‘â€šÃ‘Å’ ÃÂ¾ÃÂ±Ã‘â‚¬ÃÂ°ÃÂ·Ã‘â€“ÃÂ², Ã‘Ë†ÃÂ¸Ã‘â‚¬ÃÂ¾Ã‘â€šÃÂ° ÃÂ´ÃÂµÃÂºÃÂ¾Ã‘â‚¬ÃÂ°Ã‘â€šÃÂ¸ÃÂ²ÃÂ½ÃÂ¾ÃÂ³ÃÂ¾ ÃÂ¼ÃÂ¸Ã‘ÂÃÂ»ÃÂµÃÂ½ÃÂ½Ã‘Â ÃÂ³ÃÂ°ÃÂ»ÃÂ¸Ã‘â€ Ã‘Å’ÃÂºÃÂ¸Ã‘â€¦ ÃÂ¼ÃÂ°ÃÂ¹Ã‘ÂÃ‘â€šÃ‘â‚¬Ã‘â€“ÃÂ², ÃÂ±ÃÂµÃÂ·ÃÂ¿ÃÂ¾Ã‘ÂÃÂµÃ‘â‚¬ÃÂµÃÂ´ÃÂ½Ã‘Â Ã‘â€°ÃÂ¸Ã‘â‚¬Ã‘â€“Ã‘ÂÃ‘â€šÃ‘Å’ Ã‘â€”Ã‘â€¦ÃÂ½Ã‘Å’ÃÂ¾ÃÂ³ÃÂ¾ Ã‘ÂÃÂ²Ã‘â€“Ã‘â€šÃÂ¾ÃÂ²Ã‘â€“ÃÂ´Ã‘â€¡Ã‘Æ’Ã‘â€šÃ‘â€šÃ‘Â ÃÂ·Ã‘Æ’ÃÂ¼ÃÂ¾ÃÂ²ÃÂ¸ÃÂ»ÃÂ¸ Ã‘ÂÃ‘ÂÃÂºÃ‘â‚¬ÃÂ°ÃÂ²Ã‘Æ’ Ã‘ÂÃÂ°ÃÂ¼ÃÂ¾ÃÂ±Ã‘Æ’Ã‘â€šÃÂ½Ã‘â€“Ã‘ÂÃ‘â€šÃ‘Å’ Ã‘â€šÃÂ¾ÃÂ³ÃÂ¾Ã‘â€¡ÃÂ°Ã‘ÂÃÂ½ÃÂ¾ÃÂ³ÃÂ¾ Ã‘â€“ÃÂºÃÂ¾ÃÂ½ÃÂ¾ÃÂ¿ÃÂ¸Ã‘ÂÃ‘Æ’. ÃÂ¢ÃÂµÃÂ½ÃÂ´ÃÂµÃÂ½Ã‘â€ Ã‘â€“Ã‘Â ÃÂ´ÃÂ¾ ÃÂ¿ÃÂ¾ÃÂ´ÃÂ¾ÃÂ»ÃÂ°ÃÂ½ÃÂ½Ã‘Â ÃÂ°ÃÂ±Ã‘ÂÃ‘â€šÃ‘â‚¬ÃÂ°ÃÂ³ÃÂ¾ÃÂ²ÃÂ°ÃÂ½ÃÂ¾Ã‘â€” Ã‘â€“ÃÂºÃÂ¾ÃÂ½ÃÂ¾ÃÂ¿ÃÂ¸Ã‘ÂÃÂ½ÃÂ¾Ã‘â€” ÃÂ¼ÃÂ¾ÃÂ²ÃÂ¸ ÃÂ²ÃÂ¸Ã‘ÂÃÂ²ÃÂ»Ã‘ÂÃ‘â€Ã‘â€šÃ‘Å’Ã‘ÂÃ‘Â Ã‘Æ’ ÃÂ¿Ã‘â‚¬ÃÂ°ÃÂ³ÃÂ½ÃÂµÃÂ½ÃÂ½Ã‘â€“ Ã‘â€“ÃÂºÃÂ¾ÃÂ½ÃÂ¾ÃÂ¿ÃÂ¸Ã‘ÂÃ‘â€ Ã‘â€“ÃÂ² ÃÂ¿ÃÂµÃ‘â‚¬ÃÂµÃÂ´ÃÂ°Ã‘â€šÃÂ¸ Ã‘â‚¬ÃÂµÃÂ°ÃÂ»Ã‘Å’ÃÂ½Ã‘â€“ Ã‘ÂÃÂ¿ÃÂ¾Ã‘ÂÃ‘â€šÃÂµÃ‘â‚¬ÃÂµÃÂ¶ÃÂµÃÂ½ÃÂ½Ã‘Â ÃÂ½ÃÂ°ÃÂ²ÃÂºÃÂ¾ÃÂ»ÃÂ¸Ã‘Ë†ÃÂ½Ã‘Å’ÃÂ¾ÃÂ³ÃÂ¾ Ã‘ÂÃÂµÃ‘â‚¬ÃÂµÃÂ´ÃÂ¾ÃÂ²ÃÂ¸Ã‘â€°ÃÂ°, ÃÂ¾ÃÂ»Ã‘Å½ÃÂ´ÃÂ½ÃÂ¸Ã‘â€šÃÂ¸ ÃÂ²Ã‘â€“ÃÂ´Ã‘â€¡Ã‘Æ’ÃÂ¶ÃÂµÃÂ½ÃÂ¸ÃÂ¹ Ã‘â‚¬ÃÂµÃÂ»Ã‘â€“ÃÂ³Ã‘â€“ÃÂ¹ÃÂ½ÃÂ¸ÃÂ¹ Ã‘â€“ÃÂ´ÃÂµÃÂ°ÃÂ» ("ÃÂ¡ÃÂ²Ã‘ÂÃ‘â€šÃÂ¸ÃÂ¹ ÃÅ“ÃÂ¸ÃÂºÃÂ¾ÃÂ»ÃÂ°", "Ãâ€™ÃÂ¾Ã‘ÂÃÂºÃ‘â‚¬ÃÂµÃ‘ÂÃ‘â€“ÃÂ½ÃÂ½Ã‘Â", "ÃÂ¤ÃÂ¾ÃÂ¼ÃÂ° Ã‘â€“ Ãâ€™ÃÂ°Ã‘â‚¬Ã‘â€žÃÂ¾ÃÂ»ÃÂ¾ÃÂ¼Ã‘â€“ÃÂ¹" Ã‘â€šÃÂ° Ã‘â€“ÃÂ½. - ÃÂ´Ã‘â‚¬Ã‘Æ’ÃÂ³ÃÂ° ÃÂ¿ÃÂ¾ÃÂ»ÃÂ¾ÃÂ²ÃÂ¸ÃÂ½ÃÂ° XVI Ã‘ÂÃ‘â€š.). Ãâ€ºÃÂ°Ã‘â‚¬ÃÂ¸Ã‘ÂÃÂ° ÃÂ§ÃÂ»ÃÂµÃÂ½ÃÂ¾ÃÂ²ÃÂ° ÃÂÃÂ°Ã‘â€ Ã‘â€“ÃÂ¾ÃÂ½ÃÂ°ÃÂ»Ã‘Å’ÃÂ½ÃÂ¸ÃÂ¹ Ã‘â€¦Ã‘Æ’ÃÂ´ÃÂ¾ÃÂ¶ÃÂ½Ã‘â€“ÃÂ¹ ÃÂ¼Ã‘Æ’ÃÂ·ÃÂµÃÂ¹ ÃÂ£ÃÂºÃ‘â‚¬ÃÂ°Ã‘â€”ÃÂ½ÃÂ¸. ÃÂÃÂ»Ã‘Å’ÃÂ±ÃÂ¾ÃÂ¼. ÃÅ¡ÃÂ¸Ã‘â€”ÃÂ², "ÃÂÃ‘â‚¬Ã‘â€šÃÂ°ÃÂ½Ã‘â€“Ã‘Â ÃÂÃÂ¾ÃÂ²ÃÂ°", 2003

Art, Event, Victorian Fashion, Plucked String Instruments

1740-Ñ– Ñ€Ñ€. ÐŸÑ–Ð²Ð½Ñ–Ñ‡Ð½Ðµ Ð›Ñ–Ð²Ð¾Ð±ÐµÑ€ÐµÐ¶Ð¶Ñ. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ð³Ñ€Ð°Ð²Ñ–ÑŽÐ²Ð°Ð½Ð½Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ð¾Ð»Ñ–Ñ, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°. 114 Ñ… 70 Ñ… 2. The Great Martyrs Barbara and Catherine. 1740s. Northern Left-bank Ukraine. Tempera, oil, silvering, gilding, engraving on gesso-grounded two-piece lime-wood panel. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003. 1740-Ñ– Ñ€Ñ€. ÐŸÑ–Ð²Ð½Ñ–Ñ‡Ð½Ðµ Ð›Ñ–Ð²Ð¾Ð±ÐµÑ€ÐµÐ¶Ð¶Ñ. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ð³Ñ€Ð°Ð²Ñ–ÑŽÐ²Ð°Ð½Ð½Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ð¾Ð»Ñ–Ñ, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°. 114 Ñ… 70 Ñ… 2. The Great Martyrs Barbara and Catherine. 1740s. Northern Left-bank Ukraine. Tempera, oil, silvering, gilding, engraving on gesso-grounded two-piece lime-wood panel. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003.

Temple, Religious Item, Art, Painting

1680-1685. Ð¡Ð»Ð¾Ð±Ð¾Ð¶Ð°Ð½Ñ‰Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ð¾Ð»Ñ–Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ñ€ÐµÐ»ÑŒÑ”Ñ„, Ñ€Ñ–Ð·ÑŒÐ±Ð»ÐµÐ½Ð½Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ. Ð’ ÐºÑ–Ð¾Ñ‚Ñ–: 144 Ñ… 119 Ñ… 19. Saint Nicolas with Scenes from his life. 1680-1685. Sloboda Ukraine. Oil, tempera, gilding, silvering on gesso-grounded two-piece lime-wood panel, relief, carving. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003. 1680-1685. Ð¡Ð»Ð¾Ð±Ð¾Ð¶Ð°Ð½Ñ‰Ð¸Ð½Ð°. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ð¾Ð»Ñ–Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ñ€ÐµÐ»ÑŒÑ”Ñ„, Ñ€Ñ–Ð·ÑŒÐ±Ð»ÐµÐ½Ð½Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ. Ð’ ÐºÑ–Ð¾Ñ‚Ñ–: 144 Ñ… 119 Ñ… 19. Saint Nicolas with Scenes from his life. 1680-1685. Sloboda Ukraine. Oil, tempera, gilding, silvering on gesso-grounded two-piece lime-wood panel, relief, carving. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003.

The Chalk Vein

The Chalk Vein of Apennines

Face, Painting, Art, Victorian Fashion

1740-Ñ– Ñ€Ñ€. ÐŸÑ–Ð²Ð½Ñ–Ñ‡Ð½Ðµ Ð›Ñ–Ð²Ð¾Ð±ÐµÑ€ÐµÐ¶Ð¶Ñ. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ð³Ñ€Ð°Ð²Ñ–ÑŽÐ²Ð°Ð½Ð½Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ð¾Ð»Ñ–Ñ, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°. 114 Ñ… 70 Ñ… 2. The Great Martyrs Anastasia and Juliana. 1740s. Northern Left-bank Ukraine. Tempera, oil, silvering, gilding, engraving on gesso-grounded two-piece lime-wood panel. ...ÐŸÐ¸ÑˆÐ½Ð¸Ð¹ Ñ€Ð¾Ð·ÐºÐ²Ñ–Ñ‚ Ð±Ð°Ñ€Ð¾ÐºÐ¾ Ñƒ Ð¿ÐµÑ€ÑˆÑ–Ð¹ Ð¿Ð¾Ð»Ð¾Ð²Ð¸Ð½Ñ– XVIII ÑÑ‚. Ñ…Ð°Ñ€Ð°ÐºÑ‚ÐµÑ€Ð¸Ð·ÑƒÑ”Ñ‚ÑŒÑÑ Ð¿Ñ€Ð°Ð³Ð½ÐµÐ½Ð½ÑÐ¼ Ð´Ð¾ Ð²Ð¸Ñ‚Ð¾Ð½Ñ‡ÐµÐ½Ð¾Ð³Ð¾ Ñ€Ð°Ñ„Ñ–Ð½Ð¾Ð²Ð°Ð½Ð¾Ð³Ð¾ Ð¶Ð¸Ð²Ð¾Ð¿Ð¸ÑÑƒ. Ð—Ð° Ð½Ð¾Ð²Ð¸Ð¼Ð¸ ÐµÑÑ‚ÐµÑ‚Ð¸Ñ‡Ð½Ð¸Ð¼Ð¸ Ñ– Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¼Ð¸ ÐºÐ°Ð½Ð¾Ð½Ð°Ð¼Ð¸ Ð½Ð°Ð¿Ð¸ÑÐ°Ð½Ð¾ Ð¿Ð°Ñ€Ð½Ñ– Ñ–ÐºÐ¾Ð½Ð¸ Ð²ÐµÐ»Ð¸ÐºÐ¾Ð¼ÑƒÑ‡ÐµÐ½Ð¸Ñ†ÑŒ - "ÐÐ½Ð°ÑÑ‚Ð°ÑÑ–Ñ— Ñ– Ð†ÑƒÐ»ÑÐ½Ñ–Ñ—" Ñ‚Ð° "Ð’Ð°Ñ€Ð²Ð°Ñ€Ð¸ Ñ– ÐšÐ°Ñ‚ÐµÑ€Ð¸Ð½Ð¸" (1740-Ñ– Ñ€Ñ€.). Ð“Ð°Ð»Ð°Ð½Ñ‚Ð½Ð° ÑÐ²Ñ–Ñ‚ÑÑŒÐºÑ–ÑÑ‚ÑŒ ÑÐ²ÑÑ‚Ð¸Ñ…, Ð²Ð¸ÑˆÑƒÐºÐ°Ð½Ð¸Ð¹ Ð¶Ð¸Ð²Ð¾Ð¿Ð¸Ñ Ñ–Ð· Ð³Ñ€Ð°Ð¹Ð»Ð¸Ð²Ð¾ÑŽ Ð¼ÐµÐ»Ð¾Ð´Ñ–Ñ”ÑŽ Ð´Ð¾Ñ€Ð¾Ð³Ð¾Ñ†Ñ–Ð½Ð½Ð¸Ñ… Ñ„Ð°Ñ€Ð±, Ð¿Ñ€Ð¸Ð¼Ñ…Ð»Ð¸Ð²Ð¸Ð¼Ð¸ Ñ€Ð¸Ñ‚Ð¼Ð°Ð¼Ð¸ Ð»Ñ–Ð½Ñ–Ð¹, Ð±Ð°Ð³Ð°Ñ‚ÑÑ‚Ð²Ð¾Ð¼ Ð¾Ñ€Ð½Ð°Ð¼ÐµÐ½Ñ‚Ð°Ð»ÑŒÐ½Ð¸Ñ… Ð²Ñ–Ð·ÐµÑ€ÑƒÐ½ÐºÑ–Ð² Ñ” ÐºÐ»Ð°ÑÐ¸Ñ‡Ð½Ð¸Ð¼ Ð·Ñ€Ð°Ð·ÐºÐ¾Ð¼ Ð±Ð°Ñ€Ð¾ÐºÐ¾Ð²Ð¾Ð³Ð¾ Ð¶Ð¸Ð²Ð¾Ð¿Ð¸ÑÑƒ Ñ‚Ñ–Ñ”Ñ— Ð´Ð¾Ð±Ð¸. Ð›Ð°Ñ€Ð¸ÑÐ° Ð§Ð»ÐµÐ½Ð¾Ð²Ð° ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003. 1740-Ñ– Ñ€Ñ€. ÐŸÑ–Ð²Ð½Ñ–Ñ‡Ð½Ðµ Ð›Ñ–Ð²Ð¾Ð±ÐµÑ€ÐµÐ¶Ð¶Ñ. Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ð³Ñ€Ð°Ð²Ñ–ÑŽÐ²Ð°Ð½Ð½Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ð¾Ð»Ñ–Ñ, ÑÑ€Ñ–Ð±Ð»ÐµÐ½Ð½Ñ, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°. 114 Ñ… 70 Ñ… 2. The Great Martyrs Anastasia and Juliana. 1740s. Northern Left-bank Ukraine. Tempera, oil, silvering, gilding, engraving on gesso-grounded two-piece lime-wood panel. ...ÐŸÐ¸ÑˆÐ½Ð¸Ð¹ Ñ€Ð¾Ð·ÐºÐ²Ñ–Ñ‚ Ð±Ð°Ñ€Ð¾ÐºÐ¾ Ñƒ Ð¿ÐµÑ€ÑˆÑ–Ð¹ Ð¿Ð¾Ð»Ð¾Ð²Ð¸Ð½Ñ– XVIII ÑÑ‚. Ñ…Ð°Ñ€Ð°ÐºÑ‚ÐµÑ€Ð¸Ð·ÑƒÑ”Ñ‚ÑŒÑÑ Ð¿Ñ€Ð°Ð³Ð½ÐµÐ½Ð½ÑÐ¼ Ð´Ð¾ Ð²Ð¸Ñ‚Ð¾Ð½Ñ‡ÐµÐ½Ð¾Ð³Ð¾ Ñ€Ð°Ñ„Ñ–Ð½Ð¾Ð²Ð°Ð½Ð¾Ð³Ð¾ Ð¶Ð¸Ð²Ð¾Ð¿Ð¸ÑÑƒ. Ð—Ð° Ð½Ð¾Ð²Ð¸Ð¼Ð¸ ÐµÑÑ‚ÐµÑ‚Ð¸Ñ‡Ð½Ð¸Ð¼Ð¸ Ñ– Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¼Ð¸ ÐºÐ°Ð½Ð¾Ð½Ð°Ð¼Ð¸ Ð½Ð°Ð¿Ð¸ÑÐ°Ð½Ð¾ Ð¿Ð°Ñ€Ð½Ñ– Ñ–ÐºÐ¾Ð½Ð¸ Ð²ÐµÐ»Ð¸ÐºÐ¾Ð¼ÑƒÑ‡ÐµÐ½Ð¸Ñ†ÑŒ - "ÐÐ½Ð°ÑÑ‚Ð°ÑÑ–Ñ— Ñ– Ð†ÑƒÐ»ÑÐ½Ñ–Ñ—" Ñ‚Ð° "Ð’Ð°Ñ€Ð²Ð°Ñ€Ð¸ Ñ– ÐšÐ°Ñ‚ÐµÑ€Ð¸Ð½Ð¸" (1740-Ñ– Ñ€Ñ€.). Ð“Ð°Ð»Ð°Ð½Ñ‚Ð½Ð° ÑÐ²Ñ–Ñ‚ÑÑŒÐºÑ–ÑÑ‚ÑŒ ÑÐ²ÑÑ‚Ð¸Ñ…, Ð²Ð¸ÑˆÑƒÐºÐ°Ð½Ð¸Ð¹ Ð¶Ð¸Ð²Ð¾Ð¿Ð¸Ñ Ñ–Ð· Ð³Ñ€Ð°Ð¹Ð»Ð¸Ð²Ð¾ÑŽ Ð¼ÐµÐ»Ð¾Ð´Ñ–Ñ”ÑŽ Ð´Ð¾Ñ€Ð¾Ð³Ð¾Ñ†Ñ–Ð½Ð½Ð¸Ñ… Ñ„Ð°Ñ€Ð±, Ð¿Ñ€Ð¸Ð¼Ñ…Ð»Ð¸Ð²Ð¸Ð¼Ð¸ Ñ€Ð¸Ñ‚Ð¼Ð°Ð¼Ð¸ Ð»Ñ–Ð½Ñ–Ð¹, Ð±Ð°Ð³Ð°Ñ‚ÑÑ‚Ð²Ð¾Ð¼ Ð¾Ñ€Ð½Ð°Ð¼ÐµÐ½Ñ‚Ð°Ð»ÑŒÐ½Ð¸Ñ… Ð²Ñ–Ð·ÐµÑ€ÑƒÐ½ÐºÑ–Ð² Ñ” ÐºÐ»Ð°ÑÐ¸Ñ‡Ð½Ð¸Ð¼ Ð·Ñ€Ð°Ð·ÐºÐ¾Ð¼ Ð±Ð°Ñ€Ð¾ÐºÐ¾Ð²Ð¾Ð³Ð¾ Ð¶Ð¸Ð²Ð¾Ð¿Ð¸ÑÑƒ Ñ‚Ñ–Ñ”Ñ— Ð´Ð¾Ð±Ð¸. Ð›Ð°Ñ€Ð¸ÑÐ° Ð§Ð»ÐµÐ½Ð¾Ð²Ð° ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003.

Panda

Plaster of a panda sculpture in the park

Textile, Art, Painting, Wall

ÐšÑ–Ð½ÐµÑ†ÑŒ XVII ÑÑ‚. ÐšÐ¸Ñ—Ð². Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ð¾Ð»Ñ–Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°. 124 Ñ… 147 Ñ… 2,5. The Last Judgement. Late 17th c. Kyiv. Oil, tempera on gesso-grounded three-piece lime-wood panel. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003. ÐšÑ–Ð½ÐµÑ†ÑŒ XVII ÑÑ‚. ÐšÐ¸Ñ—Ð². Ð”Ð¾ÑˆÐºÐ° Ð»Ð¸Ð¿Ð¾Ð²Ð°, Ð»ÐµÐ²ÐºÐ°Ñ, Ð¾Ð»Ñ–Ñ, Ñ‚ÐµÐ¼Ð¿ÐµÑ€Ð°, Ð¿Ð¾Ð·Ð¾Ð»Ð¾Ñ‚Ð°. 124 Ñ… 147 Ñ… 2,5. The Last Judgement. Late 17th c. Kyiv. Oil, tempera on gesso-grounded three-piece lime-wood panel. ÐÐ°Ñ†Ñ–Ð¾Ð½Ð°Ð»ÑŒÐ½Ð¸Ð¹ Ñ…ÑƒÐ´Ð¾Ð¶Ð½Ñ–Ð¹ Ð¼ÑƒÐ·ÐµÐ¹ Ð£ÐºÑ€Ð°Ñ—Ð½Ð¸. ÐÐ»ÑŒÐ±Ð¾Ð¼. ÐšÐ¸Ñ—Ð², "ÐÑ€Ñ‚Ð°Ð½Ñ–Ñ ÐÐ¾Ð²Ð°", 2003.

The Chalk Vein

The Chalk Vein of Apennines

Textile, Art, Painting, Religious Item

ÃÅ¡Ã‘â€“ÃÂ½ÃÂµÃ‘â€ Ã‘Å’ XVII Ã‘ÂÃ‘â€š. ÃÅ¡ÃÂ¸Ã‘â€”ÃÂ²Ã‘â€°ÃÂ¸ÃÂ½ÃÂ°. Ãâ€ÃÂ¾Ã‘Ë†ÃÂºÃÂ° ÃÂ»ÃÂ¸ÃÂ¿ÃÂ¾ÃÂ²ÃÂ°, ÃÂ»ÃÂµÃÂ²ÃÂºÃÂ°Ã‘Â, Ã‘â€šÃÂµÃÂ¼ÃÂ¿ÃÂµÃ‘â‚¬ÃÂ°, Ã‘â‚¬ÃÂ¸Ã‘â€šÃ‘Æ’ÃÂ²ÃÂ°ÃÂ½ÃÂ½Ã‘Â, Ã‘ÂÃ‘â‚¬Ã‘â€“ÃÂ±ÃÂ»ÃÂµÃÂ½ÃÂ½Ã‘Â, Ã‘â€šÃÂ¾ÃÂ½ÃÂ¾ÃÂ²ÃÂ°ÃÂ½ÃÂµ ÃÂ¿Ã‘â€“ÃÂ´ ÃÂ·ÃÂ¾ÃÂ»ÃÂ¾Ã‘â€šÃÂ¾. 100 Ã‘â€¦ 71 Ã‘â€¦ 5 (ÃÂ² ÃÂ¾ÃÂ±Ã‘â‚¬ÃÂ°ÃÂ¼ÃÂ»ÃÂµÃÂ½ÃÂ½Ã‘â€“). Christ in the Winefat. Late 17th c. Kyivshchyna. Tempera, gold-tinted silvering, engraving on gesso-grounded three-piece lime-wood panel. ÃÂÃÂ°Ã‘â€ Ã‘â€“ÃÂ¾ÃÂ½ÃÂ°ÃÂ»Ã‘Å’ÃÂ½ÃÂ¸ÃÂ¹ Ã‘â€¦Ã‘Æ’ÃÂ´ÃÂ¾ÃÂ¶ÃÂ½Ã‘â€“ÃÂ¹ ÃÂ¼Ã‘Æ’ÃÂ·ÃÂµÃÂ¹ ÃÂ£ÃÂºÃ‘â‚¬ÃÂ°Ã‘â€”ÃÂ½ÃÂ¸. ÃÂÃÂ»Ã‘Å’ÃÂ±ÃÂ¾ÃÂ¼. ÃÅ¡ÃÂ¸Ã‘â€”ÃÂ², "ÃÂÃ‘â‚¬Ã‘â€šÃÂ°ÃÂ½Ã‘â€“Ã‘Â ÃÂÃÂ¾ÃÂ²ÃÂ°", 2003. ÃÅ¡Ã‘â€“ÃÂ½ÃÂµÃ‘â€ Ã‘Å’ XVII Ã‘ÂÃ‘â€š. ÃÅ¡ÃÂ¸Ã‘â€”ÃÂ²Ã‘â€°ÃÂ¸ÃÂ½ÃÂ°. Ãâ€ÃÂ¾Ã‘Ë†ÃÂºÃÂ° ÃÂ»ÃÂ¸ÃÂ¿ÃÂ¾ÃÂ²ÃÂ°, ÃÂ»ÃÂµÃÂ²ÃÂºÃÂ°Ã‘Â, Ã‘â€šÃÂµÃÂ¼ÃÂ¿ÃÂµÃ‘â‚¬ÃÂ°, Ã‘â‚¬ÃÂ¸Ã‘â€šÃ‘Æ’ÃÂ²ÃÂ°ÃÂ½ÃÂ½Ã‘Â, Ã‘ÂÃ‘â‚¬Ã‘â€“ÃÂ±ÃÂ»ÃÂµÃÂ½ÃÂ½Ã‘Â, Ã‘â€šÃÂ¾ÃÂ½ÃÂ¾ÃÂ²ÃÂ°ÃÂ½ÃÂµ ÃÂ¿Ã‘â€“ÃÂ´ ÃÂ·ÃÂ¾ÃÂ»ÃÂ¾Ã‘â€šÃÂ¾. 100 Ã‘â€¦ 71 Ã‘â€¦ 5 (ÃÂ² ÃÂ¾ÃÂ±Ã‘â‚¬ÃÂ°ÃÂ¼ÃÂ»ÃÂµÃÂ½ÃÂ½Ã‘â€“). Christ in the Winefat. Late 17th c. Kyivshchyna. Tempera, gold-tinted silvering, engraving on gesso-grounded three-piece lime-wood panel. ÃÂÃÂ°Ã‘â€ Ã‘â€“ÃÂ¾ÃÂ½ÃÂ°ÃÂ»Ã‘Å’ÃÂ½ÃÂ¸ÃÂ¹ Ã‘â€¦Ã‘Æ’ÃÂ´ÃÂ¾ÃÂ¶ÃÂ½Ã‘â€“ÃÂ¹ ÃÂ¼Ã‘Æ’ÃÂ·ÃÂµÃÂ¹ ÃÂ£ÃÂºÃ‘â‚¬ÃÂ°Ã‘â€”ÃÂ½ÃÂ¸. ÃÂÃÂ»Ã‘Å’ÃÂ±ÃÂ¾ÃÂ¼. ÃÅ¡ÃÂ¸Ã‘â€”ÃÂ², "ÃÂÃ‘â‚¬Ã‘â€šÃÂ°ÃÂ½Ã‘â€“Ã‘Â ÃÂÃÂ¾ÃÂ²ÃÂ°", 2003.

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